sexta-feira, 1 de abril de 2011

STUDENT'S MONOGRAPH ABOUT NAZA'S CREATIVE PROCESS

Piauiense SOCIETY OF HIGHER EDUCATION

CAMILLO SON INSTITUTE
COORDENADORIA COURSE BACHELOR OF VISUAL ARTS - PAINTING CLEARANCE


THE PROCESS OF CREATING THE WORK OF Naza

Lucelia MARY'S BIRTH


Teresina
2009
Lucelia MARY'S BIRTH
THE PROCESS OF CREATING THE WORK OF Naza

Monograph presented to the Course of the Institute of Fine Arts Camillo Son-ICF, as partial requirement for the degree of Bachelor of Visual Arts, major in Painting, under the guidance of Prof.. Maria de Moura Isalino Macêdo Cortez.

Teresina
2009
Lucelia MARY'S BIRTH

THE PROCESS OF CREATING THE WORK OF Naza

Monograph held on ____ / ____ 2007 and approved the same day by the Examining Board comprising the course of Bachelor of Visual Arts - Qualification in Painting Institute Camillo Filho.

Examining Committee

_______________________________________________
Prof ª. Maria de Moura Isalino Cortez Macêdo
President

The Antonio landmark, beloved husband and true gift from God, placed in my life.




ACKNOWLEDGEMENTS



The God for having shown me my true gift.

Naza The artist, for there, live and practice so simple and humble his art and yet so grand.

My mother excelsa, the prayers, and my dear father for being an admirer of my art.

The Lorraine Ali, a friend, who extended his hand to me, at the time that I needed more.

As Prof. Maria de Moura guiding Isalino Macêdo Cortez, whose attendance, availability, and bibliographic support I could not do without.

Mrs. Maria das Dores, that generous and good heart, welcomed me into her home, without reservation.

To all, I thank you.




"I have a strange lucidity when
nature is exceptionally beautiful.
I am no longer, lose consciousness,
and images come to me like a dream. "

"It's so easy to paint a good picture
How to find a diamond
Or a pearl. It means obstacles
And you risk your life for it. "

"I can not avoid the fact that my
Tables are salable. But
The time will come when people will see that
They are worth more than the price of ink. "

Lucélia
ABSTRACT
There are several ways an artist expressing his need to expose, to transpose the material world your creative potential.Maia Maria Nazareth Rufino, known internationally as Naza, managed by painting accomplish what really craved since childhood materialize, materialize a little that had been maturing in its deepest being, "their emotions." This thesis aims to analyze the process of creation in which his work is developed. For this purpose, we carried out a qualitative research through exploratory research, which initially includes a literature search to collect information on the topic delimited by consulting books, internet, and material published in newspapers and international Piaui, followed by a search field where there was an interview and video recording with the artist. The text is structured, besides the Introduction, six chapters that discuss his artistic process and its creation.Finally, the survey results, followed by References, Appendix and Attachments.
Keywords: Painting.
Emotions. Victorious.


SUMMARY
1 INTRODUCTION ..................................................................................................
2 RUFINO NAZARETH, PATH OF LIFE .........................................
3 CREATION .............................................. ...............................
3.1 TECHNICAL ................................................................................................. ......
4 AND THE ART OF Naza dialogue with different stylistic trends
5 ANALYSIS AND FORMAL ICONIC ............................................. .......
6 CONCLUSION .................................................................................................. .
REFERENCES ................................................................................................
APPENDICES ................................................................................................... ....
APPENDIX ................................................................................................... ..........
























1 INTRODUCTION


The theme "The process of creation in the work of Naza" was not coincidental. Being a research that aims to clarify the channels leading to creations and how they happen in the subterfuge of consciousness explained by the artist. Nazareth is driven only by emotion and sees his paintings, sometimes without any preconceived subject, only allowing the flow of colors and forms an intuitive and spontaneous impulse of the unconscious. Based on Farina (1990, p.27) so the artist is the hand that with the help of accurate touch, you get just the vibration of the soul.

Born in Santa Cruz do Piauí, Maria Nazareth Maya Rufino McFarren is a self-taught artist. He began his career as a painter in 1976 and never stopped. Researched extensively in search of his style, which is developed and presented in this monograph.

This work is mainly aimed to know how the creative process at work regarding the artist. The research was the need for further clarification on the work of this great painter, thus contributing to reduce the shortage literature, but also provide a fair understanding of his painting technique.

Among other objectives, sought to go on record not only life, but an insightful analysis of his work, complementing the training, awareness of the observer due to the ability to recognize the work of this painter, while his work in context with the story Art.

This work is divided into six parts, which summarize the knowledge on the subject searched, the time that followed the required standard of Introduction, Conclusion and Development, namely the following chapters: Introduction; Nazareth Rufino; creation process; technique; Naza's art and dialogue with different stylistic trends, formal and Iconographic Analysis, Conclusion. Subsequently, the references that were the fundamental theoretical foundation, followed by the appendix that shows the model of the interview in fieldwork, carried out directly with the artist. Then Annexes containing certificates acquired by Rufino Nazareth during his artistic career.

From the introduction to conclusion, subjects were treated on the private life of the artist, tried to contextualize their way through art history, emphasizing that there are stylistic elements in his work that dialogue with certain artists and styles at different times. It also attempts to dissect the work methodology developed and used by Naza when you create, and when she starts to materialize his work. As the study of his expressive technique, obtained from a field survey by means of the biographical method, with the execution of his own interview with painter and video recording in which the artist paints a picture showing his act in the creation of a work. Containing further explanations on formal analysis, and thus the observation of the formal elements to demonstrate the fine detail of the compositional work, such as lines, contrasts, colors and volumes, not forgetting to identify the message in the composition of the work through iconographic analysis .
Endorses that Maia Maria Nazareth Rufino McFarren, even enshrined as an artist in the artistic Piauí, national and international, does not enjoy, so far, scientific studies about their work.

In the methodology used in this monograph, it constitutes a qualitative research because it has the intention of measuring units, suggesting the value analysis, life history, works, and other aspects. Being a descriptive study that aimed to demonstrate the features and pictorial artist's creative act Naza. Since the development of this theme manifested itself in two steps. At first, a literature search, with the goal of finding the main concepts of the chosen theme. For this study we used the books and newspapers. In the second step, a field research phase in which information was collected about the artist and his work. Through the biographical method, performing interviews and video recording in which the artist herself, shows her creativity and skill, to perform his artistic painting a canvas.Which no data of high relevance not have been possible the materialization of this scientific work.

Finally, we performed analysis of all data collected to compose and finalize the study on this artist Rufino Maia Maria Nazareth Piauí, more specifically, Naza.




2 Naza, PATH OF LIFE
On April 19, 1955, was born in Santa Cruz in the state of Piaui, Brazil, a girl who would excel in the arts, especially abroad, that girl would be called Maria Nazareth Maya Rufino, the seventh and last child of Mr. Jose Cortez and Mrs. Rufino Rufino Guiomar Maia, a place of traditional families.
Since small already noticed his artistic skill. At eleven years old painted Jacqueline Kennedy and Nelson Rockefeller, modeled after a photograph, showing off his skills for drawing.
To achieve its objectives, has lived in several cities as the goal was to be won. At twelve, because there is no gym (the fifth to the eighth grade of elementary school) in Santa Cruz, moved to Peaks, the home of his sister, Maria das Dores.
In 1972, he attended high school in Fortaleza, in Ceara state, opting for a technical course in Business Administration. But he graduated at the Federal Technical School, Teresina.
As for higher education, attended only one year of Business Administration and Economics at the Federal University of Piauí, then, worked and studied, first, as the poster girl on TV Rádio Clube de Teresina, then as a clerk at the Treasury, andFinally, as the hostess of Embratel (Empresa Brasileira de Telecomunicações). Despite the difficulties during this difficult period in his life, Naza has never stopped drawing.
In 1976 Nazareth moved to Brasilia in order to work at Federal.It was from that time he decided to paint professionally, taking the name of Naza, which would be an abbreviation of his given name.
From 1977 he moved to Recife, with the firm thought to live only for his art, but failed. He returned to work a steady job, this time in Bandepe - Banco do Estado de Pernambuco. During this period, had an adversarial relationship that lasted three years, resulting in the birth of her first daughter Guiomar.
In 1982 the competition became the Bank of Brazil, who was then one of the best jobs in the country, with which, however, move back to work in the Picos Piauí. It was there, fell in love with Stuart McFarren, exchange officer from the U.S. Army, married a year later, in 1984.
In 1985 he moved with his daughter to America, spending just one season of three months in St. Thomas, Virgin Islands, then in Ohio, the state which became his official residence for seven years. Then moved to Panama, which he considered a real smooth transition between Brazil and the United States, enjoying their stay in this country to improve the English and Spanish, but not forgetting to do what he liked most, painting.
In just six months it was successful, had VIP customers, and as a portraitist was honored to attend the house of Gen. Manuel Antonio Noriega and Ruler between 1986 and 1987.
His second son, whom he named Daniel, was born in 1987, making her stop for a while with the painting because I was breastfeeding. In 1988 her husband was transferred to Arlington in Virginia, Washington metropolitan area, the capital of the United States of America.
In Washington, she realized that her artistic career more needed to be addressed professionally. Worked tirelessly in his career in the U.S. market, has become a major reference and artists from Washington, because the interviews given to the journal "Museum and Arts Magazine", but also a great story about you in the newspaper Folha de Sao Paulo.
In 1990, however had to migrate again, this time to Barbados, where he was painful two months, tending to the dissolution of her marriage. With divorce, went to live at the expense of their work. He moved again, this time for Fayetteville, North Carolina, a town around the military base at Fort Bragg, the largest in the U.S., where he worked as a teacher of Portuguese at the military base. Hours after the exhausting eight-hour day, painting was still working and raising children.Meanwhile, in Washington made presentations, participated in competitions and even painted a mural in Fayetteville, North Carolina, always planning his next move, this time to Florida.
In 1993, his wish was granted when he moved with the support of Ambassador Diego Asencio, an American of Spanish origin, for the long awaited Florida, settling in Boca Raton, where she lives today. He devoted himself exclusively to his art, launching and managing his atelier in the heart of Palm Beach County.With much dedication, was able to establish itself as one of the best known and respected artists in the cultural circles, business and social needs of South Florida, with an avid clientele for his paintings scattered around the world, in Piauí, are found in the Museum the state of Piaui, and various private collections: Elvira Raulino Senator Heraclitus strong, Alda Veloso, Elza Noronha, Tanita Santos, Dr. Airton Santos, among others.


He became involved in social and ecological causes, which earned him the title of "Brazilian Ambassador in Palm Beach."Back in Paris in 1996 won two awards: the Croix d'argent (Annex B) of the Academy of Art, Science and Letters and the Soroptimists International (Annex C) in 1997.
Besides being a fine artist, he is also a good advertisement, invested in products that bear his name, often using images of the paintings he creates, manipulating them and recreating them as if they were new tables, which applies to clothing itemsmale or female (Fig. 01), handbags, pillows (Fig.02), swimwear and accessories such as necklaces, earrings, bracelets (Fig. 03).
Even without knowledge of marketing, where he directed his career intuitively rarely making use of intermediaries such as the dealer. Naza says currently working as fashion designer, which the artist Hugo Leonardo Piauí, frequent visitor to your site, "the artist is using clothing as a medium of art, is trying to use people as an itinerant exhibition of art" at this point The artist agrees, but says, "the designer is in print and not in the clothes themselves" (Naza, 2008).




Figure 02 - Feshion Tshirt - Palm Beach - Event Figure 03 - Handbag_artwork_Photo - $ 28.50
Source: http://www.naza.com, Accessed 07 fev.2009



Figure 04 - Unique Bracelet With miniature art - $ 25.00
Source: http://www.naza.com, Accessed 07 fev.2009

As their journeys to their home country Brazil, the only work when hired to portray people, it is on these occasions that leverages and promotes exhibition of their works.
His work can be purchased via the internet or email Websit WWW.naza.com naza@naza.com. In Piaui, there are two stores that are allowed to sell his paintings, they are: Lilia Designer and Gallery Shop.


3 CREATION
Naza was born with a predisposition to learn to capture the inner essence of being, on their screens showing what is most interesting in the beings portrayed, this is only possible because the process of creation is identified with the living itself is an existential question the emotion that permeate his thoughts, which are structured in his intellect, and his artistic sensibility with the exteriorized. "When I paint, I vent to my emotions freely, intense and true," he says. She has an extraordinary sensitivity, when you create, your commitment is total, is immersed in a trance psychic.
[...] The development of expressive forms requires a concentration so high that the person appears to be in a state of trance, sinking into her unconscious. However she's awake, lucid and fully aware. It is worth recalling here that the creative processes are intuitive (intuitive, non-instinctive) and covering all the data on cognition and affect (data sedimented in our own way of being, not necessarily at the level of intellect). Indeed, the conscious and unconscious are complementary in intuition, as facets of the same knowledge to be, and qualify each other in every decision we make (Ostrow, 1990, p. 257).
The creation process by which Naza can materialize his art is held in early middle somewhat distressing as she says, "sometimes months without painting step, do not know if because of depression or a fear almost, because I still I have a fear of a blank canvas, fear of failure, fear of failure, "is his insecurity about not being able to do a job with the same level of expression and artistic content than before. OSTROW (1990, p. 257) commented that the creation processes start in a state of deep concern and intention, since, yearnings and forebodings are gathered in a big emotional charge in regions of pure sensibility, but no longer be a matter of intelligence. Yet what happens is that every creative process is beyond the scope of intellectual definitions or any sort of logical reasoning.
His act of "crear" has time, she has a preference for time of night, paint all night and get to sleep in the morning, this act is between instinct and reason, between the impulse to subvert all the rules and intellect that organizes. As the new Naza says "work on instinct and intuition, allowing the subconscious to flourish when I'm painting," your subconscious working virtually alone, maintains that only works with the right brain when thinking about the composition, only the process finish is that it leaves the intellect and reason to intervene in order to organize the formal suggestions produced by instinct and intuition.
Where is painting, she needs to listen to music, loud, which helps to give vent to their feelings. On the day of the interview, he painted a live picture in just two hours, was playing some songs from Brazilian singers, and noted that the pace of her strokes followed the rhythm of the music in this regard it is noted again how the his state of mind influences what she externalized in their work.
As for the place to work she says, "Wherever I am I paint, just take the stuff to paint."
When starting a work, has no idea of ​​the shape or pictorial content in his work that will result. Do not obey any basic procedure, it works with changing procedures, if not a portrait or a specific subject, start with a blank screen, spreading the paint randomly over the surface and at various times, pauses to observe the screen, the expectation that the framework will give some sign, advising him about the next step, "he begins to talk, and dialogue between the artwork and artist, begins to perceive and make connections between shapes, visualize elements interacting . This moment is the best and precious, "says the artist, is the time that the drawings are emerging and she can target, deliver the form on the white screen.
When asked about the favorite subject of work, the artist says "I prefer to paint living beings, beings that move, vibrating, like animals (Fig.05) and fill people (Fig. 06)," she likes to paint life;"My paintings are not on the wall to adorn the wall they come out and pull people in, touch them, scream, sing or caress, depending on the feelings that arose in me when I was painting."
According to the artist, playing in his works, wildlife (Fig. 06), is their way to help preserve the environment, thus enhancing people's awareness on the status of endangered species.
When she creates the most worry about the details. From the moment you start a picture "on demand", try to be as faithful as possible especially when it comes to facial features (Fig.05), in space that refers to the bottom of the composition as it disregards their artistic creativity .

Figure 05 - "Ivan's" - Oil Portrait. Figure 06 - "Naza-Wild Cat Painting
Source: www. naza.com, 1995-2006. Source: naza.com, 1995-2006.

Today, with advancing technology, Naza also innovated using the current tools it offers the technological world. Combining their creative potential computerized photographic images to create the "Generations". Nazareth scans an image of his work, placing it on the computer and starts to break down areas of the composition prepared by rebuilding it into a new compositional form, thus creating a new framework. According to Moreira (1996, p. 20), "when a work is inspired by another, this one finds its leitmotif, but never translates," it is still a new artistic creation, and may be annotated but untranslated.

3.1 TECHNICAL
Naza, as a painter, had no academic artistic training, being self-taught. He learned to paint based on observation and tireless practice of artistic and pictorial of his research, driven by their concerns and insights.
The artist says without drawing since childhood, however, always have thought that everyone needs to get deeper knowledge about the techniques, because in his view, "more important than technique, is the talent of the emotions by the board, but You can have it both ways art is complete. " Knowing which to use the right materials is essential, but when he sought knowledge in an art school in Brasilia-DF, ran into a problem very natural for those already born with a predisposition artistic yearnings and their responses were not returned. Depending on your needs, how teachers teach "them" that she painted and did not want. His desire was to discover his own artistic language, her particular technique and only her, which identify them. Naza started selling paintings to friends. Tested the paint mixing colors and textures observed. Most of her work is oil on canvas, but it was not always so. Early in his childhood and adolescence, she used only charcoal and color to express the sidewalks of Santa Cruz do Piauí.
Art materials at that time were difficult to acquire. The artist states with nostalgia that "first saw her paints and brushes when her sister, Maria das Dores, the touxe, who is being taught how to use them properly."

Newton, by the transparency and pigment ink that delivers. The brushes that are used with soft fur and long, to help achieve the expected outcome on their screens, which is a painting looks soft and smooth, velvety effect, when the hairs grow thinner by the brushes wear and tear, no longer serve more and are discarded.
Regarding the use of colors, the artist says surely be the key element in his work because as she says, "My own drawing is done with color rather than lines, colors are I show emotions, my drawing is the own color. " Has no preference for specific color, due to its use be guided as already mentioned, the emotional state present at the creation. However, there are two that do not use in any way: a white and black, and there is one that tends to be present in different proportions, red. Both this and the other colors on the screen when applied, is done intuitively, but while watching the direction to maintain the relationship between them, for example, when using the red color in a particular place always looks intently at another point that will repeat it in order to create a balanced relationship of two or three points of the same color as when you use the colors green and blue do not worry, says "they are completed."
His manner of proceeding in this work, is as follows: With a broad brush and long hair, start spreading the paint colors randomly on the screen, where you previously applied a very thin texture, made result glue with anti-acid paper and several layers of acrylic gel, leaving the screen with a slightly rough surface (Fig. 07), which after drying is sanded with a fine sandpaper and also past layers of plaster, and finally, special white ink to terminate. The first pictorial layer is made with a mixture and dosed in proportions only she knows of a mixture of linseed oil with Thinner. At this stage of painting, does not choose in advance which color is applied on the screen, it leaves the subconscious to say through what she is feeling. If you are busy, is willing to use strong colors. This process is always performed by observing if the ink level and oil, are equally distributed across the screen as you run the risk of having areas with more or less bright. Throughout the job done very carefully cut and slight movements, the ink in some places, leaving the white screen appears, highlighting the relief texture, always working on this process of subtraction, using a silicone tip or cloth and soft on the forefinger of his right hand, this process of subtraction is used interchangeably with the addition, which is delivered with care more ink to work, the resulting effect of light, shadow, volume, depth, perspective and proportions of three-dimensional (Fig. 07 ).


Figure 07 - Screen with light texture Figure 08 - Screen abstract ends.
Source: Lucélia Mary. 2008 Source: Lucélia Mary. 2008.
If portrait (Fig. 04), paint your face first, then bottom, "put certain colors, to a certain ethnicity," then comes the part that considers the most important of his work, the background of the composition. The abstractions that appear in the bottom of the screen, are carried about in less than two hours because the ink has to be compulsorily very fresh. Ali is that she uses her artistic freedom to create. Sometimes uses features of a projector, to assist you in drawing the map of the proportions of the figure, this process makes it safer, but this feature is only used as a kick-start, because soon after, it's just her eye.
Watching the pictures of Naza, is navigating a ride by unusual textured surfaces, not always smooth topography, where turbulence and calm alternate, a journey in ways that sometimes go back aquatic worlds, organic guts, ignited by color dance to the frantic pace of the breath of life (Coelho, 1997, P23).




5 ANALYSIS AND FORMAL ICONIC

The work chosen to be analyzed is the "wolf" (Fig. 09) an animal, whose theme is the painter most like to represent. The initial idea of ​​this work was conceived at the time he saw one of these wolves, found it interesting, then recorded at various angles through the camera, based on information obtained began developing the framework, with this subject content.
For purposes of analysis, the book "Wolf", oil on canvas, rectangular, measuring 76cm x 61cm, had his picture plane segmented into two parts. In the foreground, we visualized the image of the wolf, which through the effect of light and shadow volume created by projecting the way forward. Since the volumes vertical counterpoint to the horizontal. In the pictorial space of the background manifests itself through the image of the sky or darkness of night. The formal elements of composition: line, surface, light, and color were spread out evenly in space and harmonious composition. Fayga Ostrower explains that a review would be like an anatomy class, which dissect the muscles of a body to discover how they worked in the living organism. This theoretical knowledge can be defined in words and grasped intellectually. This author says:
In the works of art, the expressive content result of constant inter-relationships between parts and whole. Each component to participate in a composition, it will receive a certain meaning. This meaning did not exist independently as a given fixed or predetermined prior to the composition and the composition did not exist without the components. Everything arises and is defined in reciprocal interactions. The composition of an image is being formed as it entered the visual elements (say, certain lines, colors, surfaces) and they articulate certain formal relationships (say: contrasts, similarities, tensions spatial rhythms) - and at the same time, this same composition, the meaning of each of the elements and the positions they occupy, will be redefined by all the other elements present. I mean: the meaning of every detail will depend on the specific functions that go to play in the structure of all who helped form. (Ostrow, 1990, P.33)

Figure 09 - "Wolf" (2002)
Source: WWW.naza.com.Accessed 07/fev / 2009


The scope of work is guided by vertical and horizontal directions, the main reason being that the composition is in action, emphasized the verticality of the figure of the wolf.Ostrower said that "the expressive content of a frame is not articulated through a description of certain episodes, but solely by means of meanings contained in the spatial relationships of the image." (1990, p. ........... .....).

Since the expressive element line, carrying a directional movement, we work in a range of Naza an extraordinary vitality and expressive lines of tension, unfolded, discrete, free and vibrant rhythms, movements agitated, excited, elated and fine lines nerve back and forth endlessly, accentuating the contrast between the static and dynamic mode, and the horizontal and vertical lines are static and are dynamic diagonals and curves.

In the visual arts, the line has, by its very nature, an enormous energy. It is never static, the visual element is restless and inquisitive sketch. Wherever used, is the key instrument of the preview, the means of presenting, in tangible form, it does not yet exist, except in the imagination. Thus, it contributes enormously to the visual process. (Hence, 1991, p.56)

In the book "Wolf" exists square shapes, circular, triangular, each with its specific characteristics and meanings.

All three basic forms express visual basic and significant directions: square, horizontal and vertical, the triangle, the diagonal; the circle, the curve. Each direction has a strong visual associative meaning and is a valuable tool for creating visual messages. (Hence, 1991, p.59)

The presence of the element surface is found on the geometrization of space, becoming the horizontal stripes, vertical, diagonal and curved. The time set is the simultaneous, where everything happens at once in conjunction with closed surfaces, and open an overlapping set of plans that gives us a sense of depth, making the spatial relationship doubly dynamic.
Perceives light through the element of contrasts of light and dark, which combines a vibration in space. As the light moves in space, the dark backward, causing an advance / decline simultaneously.
The colors used in the table are split into primary, secondary, hot, cold and complementary. The artist's palette is rich and varied shades of green, yellow and brown with a predominance of blue. Cold colors blue, green, purple, recede, while warm yellow, scorched earth are projected into space by creating a highly dynamic depth, consisting of those rhythmic vibrations of the simultaneous advance and retreat of the colors. Moreover, there is another consisting of the complementary colors yellow, blue, purple, green and red earth, creating a spatial tension further reinforcing the effect of forward and backward.
The face of animal portrayed with realism makes us think that the artist to conceive of it and represent it, a dialogue with the principles that characterize the realistic painting of the nineteenth century. Representing the animal, in documentary form, although the painting was faithful reproduction, accurate, true picture of reality, eliminated what seemed superfluous and insignificant, representing only the elements considered significant and defining, ie the nose eyes and ears which are clearly displayed in the work under review.

[...] The artist must represent reality with the same objectivity with which the scientist studies a natural phenomenon. The artist does not fit 'better' artistic nature, because the beauty is in reality as it is. Its function is merely to reveal the most characteristic and expressive aspects of reality (PROENÇA, 2001, p.133).

The background of this table refers to a nocturnal atmosphere, in this respect, the artist thinks the result is because, "always think of wolves as nocturnal animals," as in his art that is developed is the externalization of their feelings, the wolf is viewed as among the darkness of night, where he is protected from predators, and stalking his victims, ready at any moment out of hiding and into action.
The materiality of this work is revealed in tactile textures, and optics. The results of the tactile texture collage made with acrylic and gel antacid paper, which is worked in the process of adding alternating with the subtraction in the application of paint. Since the optical texture results from the effect of light and shadow, which shows the volume as well as the effect that gives the illusionistic animal's fur, taking the viewer to view an image of a real wolf.

The artist walked the two paths of similarity and contrast, and the formal similarities are perceived as rhythmic repetitions, more lyrical content and contemplative. Yet the contrasts of this work indicate a dramatic content, driven by the expression of apprehension and keen observation in the wolf's eyes. Thus articulating tensions space, linking two key aspects contained in the motion: space and time. OSTROW (1983, p.140) emphasizes that: "In any speech, to draw dramatic or lyrical content, it is essential to have a minimum voltage space (even if they are images of pure fantasy), because without this tension is the expression become empty. Not correspond to real life experiences, references to missing drives and conflicts that exist in our action. The tension is essential, yet so that they condense the various levels of expressive works. "

Naza is that when an artist paints, gives vent to his emotions freely, intense and true. When looking at his paintings, one gets the impression of seeing them leave the wall and pull people in, one gets the feeling of hearing the shouting, singing, or stroke.The formal analysis of this table allows us to identify the image of an animal, that the painter was able through his artistic sensibility, expressing beautifully, bringing it to the screen surface by means of realistic representation in such a way that seems to be waiting for the moment right to jump.


Figure 10 - Wild Wolf
Source: http / / PT.wikipedia.org


According to the artist, his works play in wildlife, especially those who are listed as endangered, is a way to help preserve the environment, thus increasing people's awareness on the status of endangered species . The desire to portray this theme in his works, was awakened when, while watching a news report in an American television network (date not remembered), which exhibited manatees cut by propellers of recreational boats, showing negligence by men with nature.
The animal represented by the artist at work in analysis, is the Wild Wolf (Fig.10) which, according to research conducted via the Internet is a wild mammal considered the ancestor of the domestic dog, "was an animal feared and hated by man,hunting and habitat destruction led to almost disappear in various regions was once common, "the United States, this breed is almost extinct.
. The iconographic analysis allows us to identify the topic of wild animals in danger of extinction. Recurrent theme in realist art, which set the scenes of everyday life and flagrant popular, reflecting historical and social conditions.




4 THE ART OF DIALOGUE WITH DIFFERENT AND Naza stylistic trends


According to Janson (1996, p.7), "Art has been considered a visual dialogue, it expresses the imagination of its creator as clearly as if he were speaking to us, although the object itself is dumb." To the observer's interpretation and apreciaçãoda artwork is gradual and endless task. Basic knowledge is necessary for the observer to work and form your own opinion.Naza The work carried out, depending on how it is analyzed, it has valuable features that lock dialog now works with renowned artists throughout art history, sometimes with stylistic trends of other times.

The art critic Paulo Fernando Craven, analyzing the artist's work, characterized by dialogue with the two distinct stylistic phases, in which the neoclassical Naza shows talent and strength, but naive and somewhat still in search of their own language, and the abstract figurative, in which the artist is in his artistic maturity. The artist agrees fully, in his view, the neoclassical phase would be to understand the beginning of his artistic journey, and the second phase which is the abstract figurative.

It should be noted that the prevailing Neoclassicism was a movement in European art of the late eighteenth and early nineteenth century. Having as a great exponent painter Jacques-Louis David. The pictures that the artist paints with neoclassical trends differ from the works of David, not to locate people in time or space given, but the way of thorough and detailed design, as well as the smooth stroke of the brush without trace refer to the characteristics that movement.

Elucidating that figurative art is to represent the external reality that is a model for the creation of the artist, whether in nature, human figures or objects. This artist is figurativist because the human figure and animals are recurring themes in his works represented realistically and expressing emotional states. Also incursion by abstraction when painting the background of the pictures refusing to illusionist representation in nature.

Earlier in his career, the paintings were Naza austerely structured and their primary and secondary colors, accompanied the rigidity of its abstractions.
During his years in Washington, felt the need for internal changes. A deep thirst for innovations made to break with what had been producing artistically, they begin to make use of new stylistic practices, which was then left to abstract forms in general terms, according to Cavalcanti (19 ...., p .139), "the abstract can be considered a painting whose shapes and colors have no relation with the images or appearances of outer reality." This break came in 1988 when the artist herself reveals that lost its fear of the red, in an abstract screen that uses 90% of this color, thus marking the beginning of a new phase. That was how the artist broke the bars that held her to the conventionality, and thus to be more free in their creations.

Through the brush strokes of Naza, we can see how his subjects are varied, but always maintains the integrity of his style. She can paint any subject, in an original and creative without falling into the vulgarity of commercial imagery (Coelho, 1997, p.27).


There are two streams of abstract art, geometric abstraction and lyrical. Being that this is the last artist that fits, because it is seen in his works the route of emotion, rhythm, color and expression of individual pulses.
Naza seeks inspiration in the unconscious and intuition for the construction of their works. In its abstractions filled with organic shapes, vibrant colors and the presence of contour lines give the idea of ​​a subjective symbolism.
It follows therefore that is present on the screens of the decomposition of the Nazareth figure, the simplification of form, the new uses of color and the rejection of conventional games of light and shadow. "When the meaning of a painting depends essentially on the color and shape, it becomes abstract," explains VALLIER (1980, p23).
Abstract art has to be understood as a phenomenon rather than a mere trend. Thus, its evolution, since the sixties, is a phenomenon in which, from the beginning has given rise to several streams, which then fade to resurface a few years away, even as close to us, amplified, it is certain but ambiguous. We can distinguish various periods in the development of abstract art: the first between 1910 and 1920, which is the period of origins, characterized by a remarkable creative vitality. Then a second period, between 1920 and 1930, which saw the practical application of abstract forms - architecture, furniture and graphic arts, decoration is the end of 1900 and the emergence of what we might call, with all property, the style of the twentieth century. By 1930, begin expansion of abstract art: throughout Europe, many artists are converted to abstraction. But the aesthetic point of view, this phase of abstract art is a regression. The abstract form is exhausted and quickly slips into a kind of academically. In 1939, when war breaks out, abstract art seems to have lost all their creative force. However, just after 1945, gained new momentum. This time, we must rely on American artists. In the fifties, the most living art in the world, evolves under the sign of abstraction.
When questioned about what the artists who influenced and in which the artist replied, - "did not suffer any influence in terms of style, because I am self-taught, never wanted to see what no one was producing, and also did not copies of paintings, would not influence "and for this reason the artist did not take forward the study of art. According to Nunes (2003), however large the difference in the matter and expression, the works of art to meet common visual categories, they are: predominance of lines, represented by planes, sharp edges, etc.., Are elements that tell a kind of artistic vision, structuring that corresponds to a certain category of style. Based on these criteria that will be a contextualization of the pictorial style of Naza through the history of art, because there are stylistic elements in his work that dialogue with the works of certain artists and styles from different eras.
Many people see your pictures, you see formal similarities with surrealist painter Salvador Dalli, but Naza says no. But these observations, often made by laymen, who in one way or another, do not have more specific knowledge on the subject, has a certain degree of accuracy. Not referring to the theme and technique, but in the way of stylistic representation.




It explained that surrealism was a style that began as a literary movement promoted by André Breton, poet, essayist and critic French and flourished in Europe and the United States in 1920 and 1930, born of free association and Freudian analysis.Poets, painters and later, were experimenting with the drive - a way to create without the conscious control of the unconscious to awaken the imagination.
Over the years, with his maturity, his abstract constructions were becoming looser, free and imaginative. Today her artistic expression reaches a plateau lyrical. With the maturing of human beings, Ostrower (1987, p. 130) explains:
[...] Creativity takes place in conjunction with the completion of the personality of a being: the maturation process as essential to the creation. [...] With her mature human being will spontaneously exercise creativity as a global function and expressive of life, and a measure of his bonus.
Most of the themes developed by the artist in question is identified by Gustave Courbet, according to Strickland (2003, p.84) he only painted existing themes that represent things that he could see and touch, he said that "painting is essentially a concrete art and has to be applied to real and existing things. "Naza works primarily with figurative forms, represented by an existing being she has ever seen or touched: portraits of people and animals, sometimes, abstracting only the background of the composition.






























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