Sintagmas

Set of 4 portfolios of prints and 11 artist books

Innerscapes 1-4, Geometries 1-11, 2015-2018

Prize Secretaria do Estado da Cultura do Estado de São Paulo e PROAC.

On this set, I worked the expansion of some language codes to the free approach when building new ideas and concepts.

The unity of the meanings were organized (or disorganized) according to determined goals. If a syntagma needs a core and syntagmatic laws for the message to be understood, in the work, the relationship is given under different forms of visual language, the meaning was (is) the result of the overlap of images in transparencies, where each layer, as it overlaps the other, assembled in a book form, bring complexity to the visual phrase, creating and altering the meaning of each physical action to change the layers.

The grammatic of the eye expands the meaning and attributes personifications, interpretations, and multiple or even endless understandings. If, in the verbal language, clarity and organization of the words are fundamental to the conception and creation of meaning, in the visual language this principle changes as the visual illiteracy dispense in a linear form of perception, for its spectrum to reach understandable concepts.

The set of images conceived here cause the opposite path of the word to the visual sign, from the image to the sign unit. About syntagmas, they can be translated in a phrase, in many phrases, or even in no phrase, they position in a fertile field between language and the idea.

This work originated from a literary conception of the idea (Os Véus (The Veils), A. Carlos Rezende, 2011) until the isolation of the linguistic sign - represented by the letters A, B or C. It is the examination of the letter as an image, a sign like graphics, a sound like drawing.

In the suggestive graphic overlap of the book SINTAGMAS, the exercise to project sign over sign, design over photography, language over anatomy, defines a narrative where the poetic resides in the encounter of ideas. Starting at conjunctions, sections, grids, and languages, the artist raises a field of experiments where the references and personal perceptions will get to the expressive conclusion.

The letter “A”, an element that composes the drawings, with a macro sign over - Ā, also indicates the open pronunciation of the first letter in the latin alphabet, the “A” cleaner and clearer, the first letter and the beginning of the generating register of the language code.

A project in acts, that has an object of analysis and use of line, starting at the abrupt register in pencil, brush, or through an instrument in friction with the surface, resulting then, in an act of saturation of the pencil material, when building the wall drawings - in the colorful plan; until the line is decomposed in a math equation, fitting to the digital modeling on the design of not practical objects.

 

Carlos Rezende

 

Tradução por Carolina Finimundi