A Dimensão Feminina na Obra de Graça Morais
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2011
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A obra plástica de Graça Morais é um território de múltiplas inquietações. No gesto criativo vem desaguar o espólio de uma arqueologia interior: as suas raízes, vivências, emoções e interpretações. As inclinações expressionistas, ou o realismo vivencial que diz ser a sua pintura, exprimem quer a exuberância natural da primavera dos campos de Vieiro, a sua terra natal, quer as fantasmagorias outonais da sua matéria autobiográfica.
Disponíveis aos trabalhos do olhar ficam as metáforas de tinta sobre tela, ou sobre serapilheira, ou azulejo, ou sobre papel que assumem infinitas variações. Recorre muito à metamorfose e promove contágios e confluências entre o humano e o vegetal, entre o humano e o telúrico. No entanto, foi a pele da mulher que Graça Morais escolheu para cobrir de frutos, de musgo, de terra e de tempo. A pele chega a ser húmus da terra. A terra chega a ter as propriedades de fertilidade da mulher. Esta dissertação tem por objetivo demonstrar que é na figura feminina que o carácter telúrico da obra da pintora atinge o seu apogeu.
The art of Graça Morais is a landscape of diverse restlessness. In her creative gestures flow the remains of an inner archaeology: her roots, her experiences, her emotions and her world vision. The expressionist tendencies or the living experience which she claims to be her painting, speaks about the natural exuberance of Spring in the countryside of Vieiro, her homeland, or about the Autumn shadows of her autobiographical material. Available in the works of seeing are the metaphors of ink over canvas, or gunny, or tile, or paper that take the shape of multiple variations. Morais repeatedly evokes the concept of metamorphosis and promotes the contaminations and confluences between human and vegetable, between the human and the telluric. However, it was the female skin that Graça Morais chose to cover with fruits, moss, earth and time. The skin becomes the humus of earth. The earth gains the fertility quality of the woman. The purpose of this thesis is to suggest that it is through the female form that the telluric aspects of this artist‟s works reach their prime.
The art of Graça Morais is a landscape of diverse restlessness. In her creative gestures flow the remains of an inner archaeology: her roots, her experiences, her emotions and her world vision. The expressionist tendencies or the living experience which she claims to be her painting, speaks about the natural exuberance of Spring in the countryside of Vieiro, her homeland, or about the Autumn shadows of her autobiographical material. Available in the works of seeing are the metaphors of ink over canvas, or gunny, or tile, or paper that take the shape of multiple variations. Morais repeatedly evokes the concept of metamorphosis and promotes the contaminations and confluences between human and vegetable, between the human and the telluric. However, it was the female skin that Graça Morais chose to cover with fruits, moss, earth and time. The skin becomes the humus of earth. The earth gains the fertility quality of the woman. The purpose of this thesis is to suggest that it is through the female form that the telluric aspects of this artist‟s works reach their prime.
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Dissertação de Mestrado em Ciências da Cultura
Palavras-chave
Morais, Graça, 1948 , Pintura , Cultura portuguesa