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Ocular Archaeology (2019)
Resorting to an archaeology in the appropriation of memory, a device that generates a future anthropology, dissonant spaces emerge crossed by metamorphosis and alterity. Hypothetical, abstract spaces (…) that contradict and break representation (…) resulting in an abstract plane of immanence, ambiguous and heterodox in its functioning or logic. [1]
A combinatorial language ensues, an organized chaos, which by free use leads to a game of absolute equivalence. It is through the metamorphosis of images in pursuit of new meaning, in the optical rupture and in its symbolic change that anamorphosis arise. Environmental and extensive, they suggest a disconnected narrative of function, which integrates elements constituted by a strange power that transcends but seduces. It is as a consequence of this mechanism of vision in its disturbance of image and in the contrast between the balance of full and empty places, from those who see from the outside and dive inward, that an “obscure, chiasmatic and anamorphic structure” that “subverts the coherence of space " arises. [2]
Thus, a cycloptic eye is born, which, as it is focused, ignores the peripheries. Since as a rule the vision of a human is the convergence of two optical directions, in this third vision another dimension can be found. Finally, in the genesis of the demiurgical power of drawing, there is a near-blindness derived from a risk and from an intuitive and sightless (abocular) practice in which “the artist, while blind, acquires a visionary vocation” in his limited monocular fixation and curious search.
[1] Gilles Deleuze, Logic of Sensation (Orfeu Negro, 1981), 33-108
[2] Sabine Melchior Bonnet, The Mirror: A History (Orfeu Negro, 1994), 12-18
[3] Jacques Derrida, Memoirs of the Blind (F.C. Gulbenkian, 1991), 62-63
Ocular Archaeology (2019)
Resorting to an archaeology in the appropriation of memory, a device that generates a future anthropology, dissonant spaces emerge crossed by metamorphosis and alterity. Hypothetical, abstract spaces (…) that contradict and break representation (…) resulting in an abstract plane of immanence, ambiguous and heterodox in its functioning or logic. [1]
A combinatorial language ensues, an organized chaos, which by free use leads to a game of absolute equivalence. It is through the metamorphosis of images in pursuit of new meaning, in the optical rupture and in its symbolic change that anamorphosis arise. Environmental and extensive, they suggest a disconnected narrative of function, which integrates elements constituted by a strange power that transcends but seduces. It is as a consequence of this mechanism of vision in its disturbance of image and in the contrast between the balance of full and empty places, from those who see from the outside and dive inward, that an “obscure, chiasmatic and anamorphic structure” that “subverts the coherence of space " arises. [2]
Thus, a cycloptic eye is born, which, as it is focused, ignores the peripheries. Since as a rule the vision of a human is the convergence of two optical directions, in this third vision another dimension can be found. Finally, in the genesis of the demiurgical power of drawing, there is a near-blindness derived from a risk and from an intuitive and sightless (abocular) practice in which “the artist, while blind, acquires a visionary vocation” in his limited monocular fixation and curious search.
[1] Gilles Deleuze, Logic of Sensation (Orfeu Negro, 1981), 33-108
[2] Sabine Melchior Bonnet, The Mirror: A History (Orfeu Negro, 1994), 12-18
[3] Jacques Derrida, Memoirs of the Blind (F.C. Gulbenkian, 1991), 62-63
