Remedios Varo's Feminine, Spiritual Quest

Remedios Varo occupies a marginal position in the Surrealist canon, despite her direct involvement with Breton’s circle and in spite of the fact that her work is attributed a universal significance. It has been interpreted as representing a journey towards identity and freedom, a search for female empowerment, and as a spiritual quest. Moreover, critical focus on the mythic/exoteric ‘female’ quest has been to the detriment of the mystical/esoteric significance of the paintings. This article argues that it is in the combination of these strands that Varo’s radicalism might be found. It shows that by presenting a female, spiritual quest for enlightenment—which exists apart from a traditionally male-dominated, western religious schema—Varo circumvented her ordained role within the artistic, spiritual, and political communities of which she was a part.

Forced Displacement, Suffering and the Aesthetics of Loss

This article investigates how artists have addressed shocking experiences of displacement in different political contexts. Drawing on the notion of ‘the aesthetics of loss’ (Köstlin, 2010), it examines and compares the different aims, desires and strategies that have shaped the histories and social lives of paintings, memorial statues, installations and other artefacts. The analysis identifies a mode of artistic engagement with the sense of a ‘loss of homeland’ that has been commonly felt amongst Sudeten German expellees, namely the production and framing of visual images as markers of collective trauma. These aesthetics of loss are contrasted with the approach taken by the Dutch artist Sophie Ernst in her project entitled HOME. Working with displaced people from Pakistan, India, Palestine, Israel and Iraq, she created a mnemonic space to stimulate a more individualistic, exploratory engagement with the loss of home, which aimed, in part, to elicit interpersonal empathy. To simply oppose these two modes of aesthetic engagement, however, would ignore the ways in which artefacts are drawn into different discursive, affective and spatial formations. This article argues for the need to expose such dynamic processes of framing and reframing by focusing on the processual aspects of aestheticisation with attention to the perspective of loss.

A audácia de ser diferente: a escrita obsessiva de Ana Teresa Pereira

A presente tese tem como objetivo estudar a obra da escritora madeirense Ana Teresa Pereira. Partindo da leitura integral dos seus livros, que se interligam formando um todo caraterizado por uma unidade intrínseca e obsessiva, e analisando especificamente a obra publicada entre 1989 e 2008, procurámos demonstrar os tópicos que permitem classificar a sua poética como uma escrita obsessiva e audaz, sob o ponto de vista do que de mais espantoso as expressões podem ter. Estamos perante uma obra cuja indivisibilidade labiríntica se entretece com a paixão obsessiva pela Arte, em particular, pela Literatura, pelo Cinema, pela Pintura e pela Música.

Introduction: Mapping Gwen John: Lives, Lines and Images

Nomadic Narratives, Visual Forces explores issues, questions, and problems emerging in the analysis of epistolary and visual narratives. This book focuses in particular on Gwen John's letters and paintings. It offers an innovative theoretical approach to narrative analysis by drawing on Foucault's theory of power, Deleuze and Guattari's analytics of desire, and Cavarero's concept of the narratable self. Furthermore, it examines the use of letters as documents of life in narrative research and highlights the dynamics of spatiality in the constitution of the female self in art. This study brings together theoretical insights that emerge from the analysis of life documents - some of them previously unpublished - combining innovative research with specific methodological suggestions on doing narrative analysis.

Looking behaviour and preference for artworks: The role of emotional valence and location

The position of an item influences its evaluation, with research consistently finding that items occupying central locations are preferred and have a higher subjective value. The current study investigated whether this centre-stage effect (CSE) is a result of bottom-up gaze allocation to the central item, and whether it is affected by item valence. Participants (n=50) were presented with three images of artistic paintings in a row and asked to choose the image they preferred. Eye movements were recorded for a subset of participants (n=22). On each trial the three artworks were either similar but different, or were identical and with positive valence, or were identical and with negative valence. The results showed a centre-stage effect, with artworks in the centre of the row preferred, but only when they were identical and of positive valence. Significantly greater gaze allocation to the central and left artwork was not mirrored by equivalent increases in preference choices. Regression analyses showed that when the artworks were positive and identical the participants’ last fixation predicted preference for the central art-work, whereas the fixation duration predicted preference if the images were different. Overall the result showed that item valence, rather than level of gaze allocation, influences the CSE, which is incompatible with the bottom-up gaze explanation. We propose that the centre stage heuristic, which specifies that the best items are in the middle, is able to explain these findings and the centre-stage effect.

A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Fine arts edutainment: the amateur painter

A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general.

Perception-based painterly rendering: funcionality and interface design

Painterly rendering (non-photorealistic rendering or NPR) aims at translating photographs into paintings with discrete brush strokes, simulating certain techniques (im- or expressionism) and media (oil or watercolour). Recently, our research into visual perception and models of processes in the visual cortex resulted in a new rendering scheme, in which detected lines and edges at different scales are translated into brush strokes of different sizes. In order to prepare a version which is suitable for many users, including children, the design of the interface in terms of window and menu system is very important. Discussions with artists and non-artists led to three design criteria: (1) the interface must reflect the procedures and possibilities that real painters follow and use, (2) it must be based on only one window, and (3) the menu system must be very simple, avoiding a jungle of menus and sub-menus. This paper explains the interface that has been developed.

Contributos para o estudo da pintura mural na arquitectura palatina lisboeta entre o tardo-barroco e o neoclassicismo, 1775-C. 1820

Tese de mestrado, Arte, Património e Teoria do Restauro, Universidade de Lisboa, Faculdade de Letras, 2011

Vox Dei:metáfora(s) da espiritualidade

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Joaquim Rodrigo:a contínua reinvenção da pintura

Tese de doutoramento, História (História da Arte), Universidade de Lisboa, Faculdade de Letras, 2014

O trompe l’oeil barroco na Igreja do Menino Deus em Lisboa : métodos e técnicas

Tese de doutoramento, Belas-Artes (Geometria), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Império e imagem : D. João de Castro e a retórica do Vice-Rei (1505-1548)

Tese de doutoramento, Ciências Sociais (Sociologia Histórica), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

A trajectória do auto-retrato pintado na história da arte em Portugal : da emergência à afirmação do género, na contemporaneidade, 1470-1975

Tese de doutoramento, História (História da Arte), Universidade de Lisboa, Faculdade de Letras, 2015

Arte d’escrita desenvolvimento da escrita em alunos de língua materna e alunos de língua não materna

Projeto de Intervenção apresentado à Escola Superior de Educação de Lisboa para obtenção de grau de Mestre em Didática da Língua Portuguesa no 1.º e 2.º Ciclos do Ensino Básico