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(semic writing)

This research appears in 2020 - from the "Transcendent Function" series - as a quest to overcome the limits of artistic languages and bring painting closer to poetry. For this, Báw focuses on the studies of the Concrete and Neoconcrete literary movements, arriving at the study of poetry-praxis and the poem-process, and finally on asemic writing, ie writing devoid of semantic meaning, in which graphic aesthetics and the body movement are highlighted in the transmission of the message, which cannot be apprehended rationally. Here, the small strokes that occupy the frames are understood as signs of a particular syntactic universe - as if they constituted their own alphabet - and in fact transmit a literary message.


The nomenclature "labyrinth" suggests that it is possible to traverse the frame from one end to the other through an internal path, created by what Derrida called "asemic spaces", that is, the blank spaces between linguistic signs, necessary for grammatical understanding. . However, there is no right way, each participant-observer being able to trace his own path within the work, corroborating Dias-Pino's idea of "versions".

From another point of view, each work is also understood as a world in itself, and each small line, called "labyrinth" is a living being, which exercises its free will in time between the synapse that motivates the artist's movement and the brushstroke that carves the occupied space into the territory. The size of a small labyrinth in relation to human life invites us to reflect on the relativity of time.

The following work, "Mundo Invisível" emerged, within this research, from a performance linked to the homonymous song by Pernambuco artist Flaira Ferro, in which the artists dialogue with what inhabits the universe beyond what human perception is capable of to capture:

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