This article aims to reflect about a personal artistic practice developed out of the “Rural Landscape” concept, in the context of contemporary visual arts. The aforementioned production comes from life experience in the countryside, especially related to small-scale family farming in the south of Brazil. This study is based on a research in art methodological approach, which aligns artistic production with theoretical reflection. The creative process analyzed is analogous to the rural know-how of family farming. For this objective, it is explored the use of natural materials, such as earthy pigments and natural fibers, in order to produce paintings and drawings.
To define a landscape as rural is also a political position, considering the current context in Latin America, which is dominated by industrialized agribusiness, and a devastation of natural resources.
As a theoretical background, Anne Cauquelin (2007) addresses the landscape as a cultural construction, while Yi-Fu Tuan (2012) discusses the concept of Topophilia, emphasizing the emotional connection between people and places. And finally, Rancière (2009) contributes with reflections on art and politics. As contemporary artistic references, the works of Brígida Baltar, Claudia Hamerski, and Anselm Kiefer help to explore the materiality of materials and their possible meanings in art production. As results of the research, the analyzed artistic practice operates as an invitation to reflection about the human relations with the natural space, providing a fertile ground for reorganizations of the common way of life.

Authors:
Claudete Luginieski, University of the State of Paraná, Brazil

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Posted by James Alexander Gordon

Last updated: 2023-02-23 23:45:00

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