Sementeira do oceano: o estranho que brota de palavras e imagens da fantasia

• Ano de defesa: 2020
• Autor(a) principal: Luíza Costa Manhães de Oliveira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes; UFMG
• Palavras-chave em Português: Estranho; Imaginário; Fantasia; Ficção; Animal; Imagem-palavra; Criação (Literária, artística, etc.); Percepção; Percepção visual; Fantasia na arte; Arte e literatura
• Link de acesso: http://hdl.handle.net/1843/38752

The research proposes a reflection on the process of artistic works construction characterized by the uncanny, a notion that marks an incomprehensible familiarity at the first moment of contact. It is not a search for definitions of this aspect in the various areas of knowing , but of its unfolding within the visual arts. In addition to the uncanny, two other pillars underlie this onslaught: the relation between known and unknown and the interaction between the verbal with the visual level, culminating in poetic productions of interest such as Unheimlich (2015) and Natureza Perversa (2003) by Walmor Corrêa and Tales from Out Suburbia (2012) by Shaun Tan, as well as Sementeira do Oceano (2020), a group of images elaborated by myself that is built simultaneously to this quest, giving it its name. Developed by different approaches, techniques and materials, each of these cases refers to the uncanny permeating it with fantasies, characters, scenarios and fictional situations besides to hybridized or anthropomorphic animals providing a desconstruction of reality. In this way, it is established the approximation betwen different areas such as word and image, relation in the works showed in here that build a content in a whole way, and art and science, enabling a discussion about poetic possibilities that appropriate scientific means and methods to question the construction of knowledge and the imaginary shaping, entering into the construction of monsters and legends. Thus, questions are extended, tangent to notions of reality and its multiplicity, issues legitimized by modes of representation and realities constructed throught language. In this search, world of images are traversed, taking the metaphor of the ocean as the environment of theoretical research and artistic production, in which the researcher-artist navigates in the way of the uncanny.