Guto Oca: a cor que não vejo

• Ano de defesa: 2021
• Autor(a) principal: Santos, Augusto César de Holanda
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Artes Visuais; Programa de Pós-Graduação em Artes Visuais; UFPB
• Palavras-chave em Português: Daltonismo racial - Arte - Educação; Artes visuais; Racismo; Arte Afro-Brasileira; Racial color blindness - Art - Education; Visual arts; Racism; Afro-Brazilian Art; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::EDUCACAO ARTISTICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/22065

Are we sure of what we see? For most people to observe colors, to distinguish the difference between them and to still classify them are easy tasks. It’s not so simple for color blind people. In this dissertation i started from my experiences in the scop of Atr Education and its influences in my work as a black artist and throughout this research i highlight the fact that as being colorblind i used my visual limitations to composse, create, and recreate, artistic Works in the field of visual arts. In this contexto, the general objective of this research is: to investigate in my artistic Works influences of physicological color blindeness and “racial color blindness” in the pictorial compositions and in the themesused in my poetics. For this, i used the metaphore of “non-extistent color” based on the following concepts: “racial color blindness”, which problematizes he whitening of black skin in Brazil and “Afro-Brazilian art”, establishing relationships between the concept and my creative process. To carry out the analysis, i opted for the methodological approach of education research based on a/r/tography systematized by Doctor Rita L. Irwin (2013) and her team from the Departament of Curriculum & Pedagogy of University of Brith Columbia, Canada, used as a methodological procedure the intervention research starting from my artistic practice and its singularities, visualities and subjectivities, enabling a continuous processo f investigation (a living research). For theorical interlocutions, i resorted to the concepts of Afro-Brazilian art addressed by Renata Felinto (2016), Walter Zanini (1983), Roberto Conduru (2007) and Renato Silva (2016), i also worked with authors such as Silvio Almeida(2018) and Grada Kilomba (2019) wo they discuss structural racism and its implications in contemporary societies, aiming at a theoretical basis to justify my poetc immersion in the theme. And therefor, i analyzed artistc Works of my own, their a esthetc and conceptual developments, which werw exposed in two individual exhibitions: “Color that i don’t see”, at Usina Cultural Energisa Gallery and “Still there is a body” at Sesc Cabo Branco Gallery, both held in 2019, in the city of João pessoa, Paraíba, Brazil.