![]() ![]() Timelessness – thoroughly focused on the present, our sin to pass by in minutes.A sense of serenity – no worries about oneself and a feeling of growing beyond the boundaries of the ego.Knowing that the activity is doable – that skills are adequate to the task.Great inner clarity – knowing what needs to be done and how well we are doing.A sense of ecstasy – of being outside everyday reality.Completely involved in what we are doing – focused, concentrated.Have you ever been in a creative zone of absorption, a state where time travels quickly, and you are in what psychology professor Mihaly Csikszentmihalyi calls ‘flow’. It’s very hard to do both at the same time. When you are trying to learn to draw something realistically, you have to engage your right-hand side of the brain, which is keener on images and spatial perception. When learning to draw, you often need to temporarily hold off judgment and try not to second guess what you think the object should look like, rather than what the object actually looks like. This side of your brain is keen on knowing an objects name, labelling it, and organising it. The main problems associated with drawing is when you talk, you engage your logical, language dominated left side of the brain. Understanding drawing can be the key to your artistic success and a new, razor-sharp creative mind, but it can seem like an uphill struggle.īut what if there was a simple solution? Pieces to the puzzle that you didn’t know existed,ģ secrets that could instantly improve your drawing and painting? You’ve read how to draw books, maybe gone to a few art classes, but the art of drawing still seems to elude you.Īnd you begin to question yourself – What if it’s me? What if I don’t have enough talent? I am currently researching the interrelationships between portrait, memory and identity in Brazil and France.It seems no matter how hard you try, how intensely you look at a subject, your drawings look wrong. My work often deals with found imagery (as in magazine ads, TV Screen shots, antique newspapers and old photographs) and deals with the notions of body – portrait – identity as well as the aspects of public versus private and the commercialization of the body the works in their conjunction - create a dialogue between photography, digital culture and traditional painting. Since 2010 I explore the dialogue between photography, painting and memory (2009 Facebook | Internet Intimacy 2010 | Analogue Shot 2012) and since then I mainly work with the concept of a visual archive of images from a collective memory based on family photography ("Viva la familia" - Family Portrait, Colombia 2012 | Soap Opera, Mexico / Spain 2012 | Memoria Lucida, Sao Paulo 2013). I was artist in residence in the Drawing Center: ”Taller 7" ( ) in Medellin, Colombia, and there I researched the collective visual memory of Brazil in the Photography Archive of the Mario Andrade Library during my art residence in "Estudio Lamina", Sao Paulo ( ).More recently I have lived three months in Brittany in an art residency of Les Ateiers de Plessix-Madeuc (and spent 1 month painting in a residency in the cultural centrer Lieu-Commun in Toulouse. I like exploring and observing and I am inspired by new surroundings and cultures. ![]()
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