PERCURSOS

Thinking of plural paths is an idea that applies to my career developed over the years taking into account the transversality of fields of knowledge. Art, self-knowledge and contact are three aspects that intersect along my path.

My first academic training was in the field of science (Pharmacy Biochemistry, USP). It was there that I started to understand that health has to do with self-knowledge much more than with the procedures that the disease industry imposes. It was also where I started to experience, to then understand in the following years, that my real interest was to experience. In the subtle difference between the words, understand that the relevance in the discoveries provided by the processes is worth more than the obsession with the result.

It was during the Faculty of Pharmacy that I started to draw and then to paint. When I started to study Art at FAAP, I also started an internship in jewelry to learn a new trade. The manual making of jewelry brought a new possibility: that of exploring the three-dimensional relationships of matter on the body scale.

PERCURSOS

Thinking of plural paths is an idea that applies to my career developed over the years taking into account the transversality of fields of knowledge. Art, self-knowledge and contact are three aspects that intersect along my path.

My first academic training was in the field of science (Pharmacy Biochemistry, USP). It was there that I started to understand that health has to do with self-knowledge much more than with the procedures that the disease industry imposes. It was also where I started to experience, to then understand in the following years, that my real interest was to experience. In the subtle difference between the words, understand that the relevance in the discoveries provided by the processes is worth more than the obsession with the result.

It was during the Faculty of Pharmacy that I started to draw and then to paint. When I started to study Art at FAAP, I also started an internship in jewelry to learn a new trade. The manual making of jewelry brought a new possibility: that of exploring the three-dimensional relationships of matter on the body scale.

Between 2000/2012 , my production moved through the territory that stands between Jewelry and Art, investigating new possibilities in typologies, materials and above all, in the interrelationships that were established between me / another,

The work took place not only in the development of objects designed for the body and to dialogue with the other, but also in several other very rich experiences. I was able to exhibit my work in several countries, and had wonderful exchanges and life experiences. In 2010 I was nominated for the Prince Claus Award for the work developed with Projeto Nova Joia (2006/2014), a platform that promoted lectures and exhibitions, workshops and courses on this gray territory

da série "Longing for the body", latex, 2005"

The idea of ​​overflowing borders has always been part of my poetic procedure, translated by the eventual presence of photography and the installation next to the relational object. However, after Cetro / Entretantos (2013) the beginning of a detour is marked. That was when I started to understand that I could do without the object to experience contact with the other, a major focus of my interest in researching the object.

mirlafernandes_cetro.jpg

Since 2004, in parallel to artistic practices, I had started Aikido, a martial art developed in Japan from the middle of the 20th century and which is distinguished for seeking the harmonization of relations.

 

Just before the end of my master's degree in 2012, I graduated from shodan (black belt) and started working as an Aikido instructor. This meant that contact from the body / mind integration became essential in my understanding of life.

 

Aikido seemed to provide me with the interaction with the other that I had sought with the jewelry object without the need for the object's intermediation. The relationship was due to body contact, the exchange of ki , the subtle energy that animates us.

The research of this body / mind integration brought me closer to the field of education and direct contact with people of the most diverse age groups. These experiences made me seek more training in other body practices such as Chi Kung, Kinomichi and the Feldenkrais Method, which led to the development of my research in integrative practices that I call, Corpo-ki

This immersion in oriental philosophy also gradually led me to the practices of Zensho and Shodo and it was there that I returned to painting and drawing. In this return, my attitude was contaminated by the idea that the gesture is charged with an intention of the present moment and there is no return, there are no rearrangements, as well as a coup initiated and ended. The initial gesture in the field of paper is not far from meeting the other on the mat. There the image unfolds.

 

Exploring the idea of ​​body- designer more attentive to the Japanese concept of hitsu-i , the spirit of the brush, exploring the instant when the brush comes into contact with the paper and reveals the artist's mind, the painting resurfaced with the ink and brought the Funakogi Undo , Descaligrafias and Michi series .

In search of a formal synthesis, I chose the contrast between the black of the action (ink / gesture) over the white (field, paper). The production of this moment of use of the ink was moving in an even greater reduction towards the drawing. This movement also meant the development of Tutoria , a proposal that connects the act of drawing to self-knowledge processes and that I have been offering since 2018.