ENTRE CAMPOS


Texto e Tinta

Por Hélder Ramos

Há autores que escrevem como se fossem pintores. Na exposição Con/text: Artists Respond to Writing, cinco artistas pintaram o trabalho de autores reconhecidos. E entre estes cinco autores escolhidos, dois deles são portugueses.

Pedro Correia, o único português dos cinco pintores/estudantes participantes, escolheu "O Livro do Desassossego" de Fernando Pessoa. Entretanto, "Todos os Nomes" de José Saramago também foi abordado com vídeo, por Dana Samuel, na galeria CAN - Culture - Art - Nexus, numa exposição da faculdade de Belas Artes da Universidade de Western Ontario, em London.

Os heterónimos de Fernando Pessoa, e em particular Bernardo Soares, diz Pedro Correia, surgiram em conjunção com uma estética no design mais tipicamente caracterizado pelo trabalho do arquitecto Raul Lino. Em revolta contra o modernismo, o trabalho de Lino e outros definiu a arquitectura do fascismo em Portugal, com "(...) a growing homogenization of the domestic", nas palavras deste jovem pintor.

Pedro Correia nasceu em Angra do Heroísmo, Terceira, sendo a mãe do Funchal e o pai de Torres Vedras. Completou os estudos superiores no Ontario College of Art & Design e está actualmente a terminar o último ano do seu doutoramento em Belas Artes na UWO. Entre os seus méritos, recebeu uma bolsa de estudo do Ontario Graduate Studies Scholarship Program e verbas do programa Emerging Artists do Canada Council for the Arts.

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Sol Português: - Pedro, why "The Book of Disquietude", in particular?

Pedro Correia: - My interest in Fernando Pessoa's "The Book of Disquietude" arises from the possibilities it provides as a descriptive tool for painting. I'm also fascinated by the re-configurative processes involved in the organization of Pessoa's text. Because it was written on scraps of paper and archived chaotically in a trunk, each attempt at transcribing demands a process that is inherently differential. In other words, each edition or translation of "The Book of Disquietude" has a different sequence of events that orders contingently, the life of Bernardo Soares, the "semi-heteronym" that Pessoa created.

S.P. - How did you decide to approach that through painting?

P.C. - The subject matter of the paintings touches upon a similar process of reconfiguration. The decorative motifs I have used were "lifted" from domestic spaces designed by Lino, who was active during the fascist regime in Portugal. Lino was critical of the Modernist tendencies emerging in European architecture. He positioned his work along ethnographic lines in which domesticity was conceived as an extension of national character. In fact, he developed an ideological agenda in which "a casa portuguesa" stood in for many of the values promoted by Portuguese fascism.

S.P. - What are you showing at Con/text?

P.C. - My paintings are an initial inventory of the motifs Lino appropriated from rural and provincial ceramic design in Portugal. By taking these designs into "the painterly" I hope to provisionally disengage them from the political context in which Lino worked, and reclaim them as a cultural inheritance that historically preceded Lino's nationalistic tendencies.