No Trajeto das Águas, Memórias do sagrado feminino na gravura Afro-Amazônida

Abstract

The researt investigates the art processes that gave rise to the series of engravings “On the path of the waters over the grooves of the rivers”, “The waters”, “The woman whose children are fish”, ande “Sacred feminine”. The investigation of these series is importante for presenting the symbols of the sacred feminine, as well as identifying the use of engraving techniques. The relationship with the theme of the recorded images, the artistic practice in the studio, the grafic processes during the production of the engravings, the memories of plates, objects, people, the boat crossings carried out during childhood and adulthood, the paths traveled between the river and the sea, they are vestiges of a place kept in memory. It also concerns the experiences arising from Afro-Brazilian religiosity, in which the symbologies, representations of the sacred feminine are presente. The essence of my artistic process as a woman, artist, of a terreiro ando f African descente, which highlights personal experiences, Family memories, ancestral memories, the perception of the world in the Brazilian diáspora, manifesting itself naturally in the engravings. Roberto Conduru tell us that, in order to understand Afro-Brazilian art, it is necessary to provide essentialities. With regard to memory, Maurice Halbwachs and Aleida Assmann’s theory is based, as well as jan Assmann and his studies related to belonging. Pierre Verger says that the religion of the orixás is linked to the notion of Family, and that Iemanjá and Oxum open na enchanted world, that of Waters. Lydia Cabrera and Reginaldo Prandi clarify the way in which female water deities presente themselves. The symbologies of shells, pearls, oysters, snails, shells, and the analogy with women, are sacred forces concentrated in the Waters. The universe of water is associated with the sacred-feminine, through engravings.