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Nesta investigação teórico-prática reflito sobre a linearidade do tempo e a finitude. Acreditando que tudo é efémero, escrevo na tentativa de expor e questionar a relação de
escravidão com o Tempo, a partir de um conjunto de obras realizadas nos últimos dois anos – Heterocronia (2024); Gotas de Tempo (2025); e a série Jornais D’Água (2025-2026).
É através de um estado de Heterocronia (2024) que emerge uma “caixa de areia”, onde a criança ingénua e inocente manuseia e constrói o seu mundo imaginário, onde
procuro simular a sensação e intenção para uma consciência adulta, que enfrenta a sua finitude e deseja moldar o tempo para melhor proveito.
No entanto, perdido no tempo, no escuro e sozinho, apercebo-me de um desconforto em comunicar com outros, originário de um desconforto inicial em comunicar comigo próprio. O confronto inerente a esta afasia1 provinha de uma perspetiva pessoal de um não entendimento próprio. Estes sentimentos confrontaram-me com a comunicação intra e interpessoal, que procuro resolver através da exposição dos meus pensamentos e emoções sobre colagens ou livros de artista, tal como o livro Meio Buraco (2025), que resulta de uma tentativa de criar um ponto de passagem entre um “eu” interno e privado e o mundo que me rodeia.
Deambulo pelo labirinto de caminhos de desejo da floresta, guiado pelo aparecimento de Gotas de Tempo (2025) e numa corrida em busca de um tempo familiar, “tropeço” no Meio Buraco (2025), inundado de pensamentos e emoções, que me transporta de novo para o início deste loop interminável dos ponteiros do relógio que rodam e rodam
sem cessar.
Antes que me reduza a pó, renasço da água pura que me transforma num ser leve, presente no céu e na terra, consciente e parte de um todo.
In this theoretical-practical investigation, I reflect on the linearity of time and finitude. Believing that everything is ephemeral, I write in an attempt to expose and question the relationship of slavery to Time, based on a set of works created over the last two years – Heterocronia (2024); Gotas de Tempo (2025); and the series Jornais D’Água (2025-2026). It is through a state of Heterocronia (2024) that a “sandbox” emerges, where the naive and innocent child handles and builds their imaginary world, where I seek to simulate the feeling and intention for an adult consciousness, which faces its finitude and wishes to shape time for better use. However, lost in time, in the dark and alone, I realise a discomfort in communicating with others, originating from an initial discomfort in communicating with myself. The confrontation inherent in this aphasia2 came from a personal perspective of not understanding myself. These feelings confronted me with intra- and interpersonal communication, which I seek to resolve by exposing my thoughts and emotions on collages or artist's books, such as the book Meio Buraco (2025), which results from an attempt to create a point of passage between an internal and private ‘self’ and the world around me. I wander through the labyrinth of desire paths in the forest, guided by the appearance of Gotas de Tempo (2025), in a race in search of a familiar time, I ‘stumble’ upon Meio Buraco (2025), flooded with thoughts and emotions, which transports me back to the beginning of this endless loop of clock hands that turn and turn without ceasing. Before I am reduced to dust, I am reborn from pure water that transforms me into a light being, present in heaven and earth, conscious and part of a whole.
In this theoretical-practical investigation, I reflect on the linearity of time and finitude. Believing that everything is ephemeral, I write in an attempt to expose and question the relationship of slavery to Time, based on a set of works created over the last two years – Heterocronia (2024); Gotas de Tempo (2025); and the series Jornais D’Água (2025-2026). It is through a state of Heterocronia (2024) that a “sandbox” emerges, where the naive and innocent child handles and builds their imaginary world, where I seek to simulate the feeling and intention for an adult consciousness, which faces its finitude and wishes to shape time for better use. However, lost in time, in the dark and alone, I realise a discomfort in communicating with others, originating from an initial discomfort in communicating with myself. The confrontation inherent in this aphasia2 came from a personal perspective of not understanding myself. These feelings confronted me with intra- and interpersonal communication, which I seek to resolve by exposing my thoughts and emotions on collages or artist's books, such as the book Meio Buraco (2025), which results from an attempt to create a point of passage between an internal and private ‘self’ and the world around me. I wander through the labyrinth of desire paths in the forest, guided by the appearance of Gotas de Tempo (2025), in a race in search of a familiar time, I ‘stumble’ upon Meio Buraco (2025), flooded with thoughts and emotions, which transports me back to the beginning of this endless loop of clock hands that turn and turn without ceasing. Before I am reduced to dust, I am reborn from pure water that transforms me into a light being, present in heaven and earth, conscious and part of a whole.
Descrição
Palavras-chave
Memento mori Labirinto Afasia Tempo