Tempo em camadas: memórias de família e autorretrato

Abstract

This research on Visual Arts started from encounters with old photographs that had symbolic marks and materials due to the passage of time, such as fading, yellowing, damage, among others. Given this set, the deletions of the personal narratives of those who appeared in the photos and the deletions that occurred in the images by the action of time, in particular, stood out; especially in the figures of the brides in the registration of their marriages. It provided an investigation for traces and reverberations of these marks in the own researcher’s history, as well as in the genealogical context, and also expanded to social aspects of female deletion. Thus, memory was taken as visual poetics and understood in a kaleidoscopic way from the dialogue between several authors, such as Berson, Bosi, Halbwachs, Stern, and Pollack, sometimes moving away from the present, sometimes becoming the present itself. Thereby, based on discussions about Cecília Salles’ creation process, it was sought to understand aspects of an own path in the arts, linked to family issues. That resulted in the production of a series of self-portraits, through the painting in interaction with other languages, from the rescue, selection, and appropriation of family photographic records, (re)creating narratives and memories around the thematic triad marriage-family-woman. Based on that, the work in question promoted breaks in chronological time and in generational distances interspersed with death and relocated and recreated family memories, with similarities and dissidences with the past.