Dina Pimenta approaches in this exhibition a reflection on the space of the House of the Culture of Santa Cruz, from where a set of fragments of ideas arose that awoke of the senses to the various visions and metaphors that the line produces. A patent exhibit until June 16th.
Why the title? And what was the guiding thread for this exhibition?
Dina Pimenta: It is a transverse title to everything that is an area of sensibilities, could even come out of the arts and we could even travel to other areas like poetry, even in literature and music things work in a model close to this. But here I brought an intention, it is an open project for me also and for those who come to visit, because being a plastic artist I always wonder about everything, what I am doing and in what place? What I am? What moves me to do things? So this is the place of equation, of meditation, of managing ideas, or a space to sounds and feelings. When I think about ideas and the senses I am not only fully equating them, I feel like I have a sixth sense, not literally, but I try. Of course plastic artists use vision, what they see, but I think it's not just that. We are educated from the moment we are born to interpret what we see, throughout our life, around us, after we feel and see everything around us, we are visual people, we are also with our eyes closed, we reflect on things and we do not see them. For example, I am a teacher, in geometry class I put my students to look at the spaces, it is a representation system that is rigorous, goes to the paper where there is an equation and has a mathematical result. At the same time I am doing a palpable, completely subjective work on one point transcribing a straight line, then moving it to a plane, creating a surface and still not talking about the visual arts, we are talking about a discipline that Is rigorous of the scientific method and has a system of representation. As I am trained in arts, in painting and sculpture, I mix both things and I always bring these two strands behind me. In my professional area I ended up being a teacher and it was an enrichment, but always leaving space for my art and what I wanted to do. And I thought I had to be side by side, I've always been available for both, and the space is created to do so. We cannot leave aside what we have taught, or we learn and there are always things that stay with us, we apprehend a visual message and move on to an understanding that is the plastic expression and what is the area of painting, from the technical aspect to the symbolism and we are going by acquiring these understandings because they are part of our growth, the maturing of ideas grows within us. When I come to this exhibition I bring a life that I have lived, is not totally equated, there are new ideas and these works show where the ideas go where they take me. I also bring themes that I like the public to interpret and people who enjoy space pass through these experiences, each one according to its scale, because some need more time than others, there are people who see it soon and others recognize slowly. I also go through a metaphor where I go through the forms and the lines by which I express myself, because I have already expressed myself in another way, I went through a moment where I painted with more colors, another period in which there was no color because I understood that the surfaces were colors All in black was the empty and in white the color, I saw that colored.
In temporal terms, you said that there are several phases, what are you talking about?
DP: This exhibition is just an ideal project for this space.
For how long?
DP: Three months.
Always with the line as a backdrop?
DP: Not worried about the line you see, but rather the line of ideas that move me to other results. Let's say it's structuring, a little emotional, then there's the drawing that's my line to express what I want to do now and I play with it. There is an expression that mentions and contextualizes the work. It also approaches the senses.
In these works there is sculpture.
DP: Yes, sculpture works let's say modeling, which is done with parts that have been linked to my professional area. Over time we have to register a lot of what we do, each class has a dossier, documents that record the work and I have to make an evaluation that is difficult, but I have to keep them because I scribble a lot in them. And in this place of storing things I created a facility that I call a "mutant visit", it is a gift that I give to the visitors, I wish that it be recognized by some people and that they question me to perceive it a little. Then there is another sculpture I drew in 2010 as an object for this place. But when I come to this space, its surrounding area and questioning myself about it, I am going to pick up a subject that troubled me and that represents me that I call "strong saudade."
Addressing the drawing, you said were always drawing throughout your life, what kind of lines did you use for this exhibition? Did you paint with pencil?
DP: I rarely use pencils. I drawi with ink, or with a pen that slides fast, I got rid of the graphite and used it for a long time and I'm proud of it. Now I use a pen with graphite tone, but as a rule I draw the ink directly.
And is there a unifying line to this whole exhibition?
DP: I do not know if I bring the potential that the line has, let's say it's body, substance and expressiveness, I bring it a little and if I had developed that potential it would be even better, but I always wonder if I could do something else.
Are any of these drawings emblematic of the whole universe you had in mind for this exhibition?
DP: I bring one theme from my professional area, it's about people who grew up, who accompanied me and who are now my equals, are my peers. They are great figures, poets, are greater than me in the way of thinking and I am proud of it. Then there are people who have come across me in this life line as well and huge people who maybe understand me or not. I represent all this by metaphors and maybe used all this to represent people and things.
And the interpretation remains for who "reads" these works?
DP: I leave it to people's discretion, there will be one that they will find as a joke, but I hope they do not feel hurt, I like to laugh, play and I do not want to hurt them. The potential that my area allows me and the potential that comes from it, the artist must be free and have that freedom. You may be listening or clutching your concerns on the likes and dislikes, whether it's good or bad, but if we're conditioned we do not produce anything. We are tied up and this should not be reflected in our work, I think metaphors are made with a lot of affection.
The artist cannot be limited? Today we live in a politically correct society that covers almost every area and not just art.
DP: I honestly do not mean to offend anyone, I do not feel comfortable hurting people, I avoid it, but there were phases where I felt, like being the voice of others, or ideas, but this is something I do carefully. I do not like to always hurt, I think if we want to communicate we are solving things, my work makes people question, it is my soldier side.
