Brazilian Sculpture & Culture

brazilian

VISUAL PRODUCTION I - FINAL PROJECT

APRIL 22, 2013

502-AP4-AS gr. 02510

SCULPTURE & CULTURE

BY VIRGINIA CINI

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BRAZILIAN SCULPTURE & CULTURE

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MESTRE NOZA

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ABOUT NOZA’S ART

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ABOUT MY SOURCE OF INSPIRATION

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CREATIVE PROCESS I

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CREATIVE PROCESS II

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CREATIVE PROCESS III

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THE SCULPTING EXPERIENCE

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MESTRE NOZA

THE BEGINNING | RELIGIOUS INFLUENCE

LATER SCULPTURES | LITERATURE CHARACTERS

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M E S T R E

N O Z A

1897 - 1983 PERNAMBUCO - BRAZIL

THE BEGINNING

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RELIGIOUS INFLUENCE

LATER SCULPTURES

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LITERATURE CHARACTERS

LATER SCULPTURES

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LITERATURE CHARACTERS

ABOUT NOZA’S ART

THE ARTIST’S TECHNIQUES AND THEMES OF HIS WORK

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A B O U T

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N O Z A`S

estre Noza was born in Pernambuco, northern part of Brazil, in 1897. Noza learned how to sculpt wood due to the fact that, for several years, he worked in a factory that produced gun stocks. Because people were generally very religious in his region, he started creating and selling varnished saints’ sculptures, also made out of wood.

Some years after, he worked as a woodcut illustrator. He mainly illustrated little poem books, traditionally called “Literatura de Cordel” (where “cordel” stands for “rope”). This kind of literature was composed by short rimed stories, which could be fiction, or could be related to a historical fact.

However, they were always told in a funny or sarcastic way. Therefore, these little books were printed in really cheap small sheets of paper and, in the cover page, there was an illustration related to the story. Generally, these

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A R T

images depicted the main characters of the story. Observing these illustrations’ style, one can perceive that its lines are very strong and geometric, usually they are not colored and they are really flat and simple.

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he tradition of writing these short rimed stories was brought to Brazil by the Portuguese and it is still very popular in the country. These little books are usually sold in souvenir stores and they

are hung on ropes. Which is why they are called “Cordel”.

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his artist had many expositions in Brazil, but was never widely recognized internationally. Except for an album that he illustrated, called ue to the fact that Mestre Via Sacra, which was edited and beNoza worked in the illustra- came very popular in Paris, in 1965. tion field, he started using the “Cordel Literature” as a source of inspiration for his sculptures. So he went from sculpting saints to ONCE, MESTRE NOZA WAS ASKED building stories’ characters out ABOUT HIS AGE AND HIS ART of wood. Just like in the books, his sculptures were very geometric and also had strong lines. The only difference is that, they were extremely colorful and bright. oza’s neighbor, who is still aliveozonce went to his atelier and asked the following to the artist: “Mestre Noza, how old are you?” And Noza answered: “I’m 77 my son.” The boy insisted: “And how old is your art?” And Noza answered: “The same, 77 my son.” So the boy retorted: “How can it be possible?”

And Noza wisely replied: “Well, isn’t life a form of art my son?”

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In the northern part of Brazil, it is very common to find colorful handicraft pieces, because this region was strongly influenced by the Baroque style.

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ABOUT MY SOURCE OF INSPIRATION

BRAZILIAN ART AND ITS HISTORICAL RELEVANCE

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ABOUT MY SOURCE OF INSPIRATION

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have chosen Mestre Noza as a source of inspiration for my work, firstly because of the historical importance of his art. Second, because of his colorful and informal artistic style, which clearly translates the Brazilian culture. And third, due to the fact that he was recognized nationally and internationally as a professional artist. His main source of inspiration, as mentioned in the previous chapter, is the “Cordel Literature” and its characters. This tradition dates from the time of Brazil’s colonization and it represents one of the the country’s first artistic expression, which is a fundamental aspect to build a new and unique culture. Noza’s work also depicts how different influences, such as history and society, can affect art and inspire new artistic styles. There can be found many artisans just like Mestre Noza in Brazil and I believe that they might be the most valuable contemporary representatives of our art. Through their sculptures, paintings and general handicraft pieces, they help the country to keep traditions that have great historical importance.

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iven these facts, I have decided to make a piece that would also recall an ancient tradition. Because, after passing by

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severla souvenir stores in my country, I could find a very particular kind of sculpture, called “namoradeira” (which stands for a woman who is looking for a lover). These sculptures depict women’s busts, with arms, that can either be resting in front of their bodies, or supporting their heads.

They have a specific expression as well, which means that they have been waiting for someone and also, they always have romantic, dreamer’s eyes. In this context, I decided to make a research to understand these sculptures and, I could not

find out exactly when they started to be produced, but I discovered the historical meaning behind this tradition. Therefore, I decided to create my own “namoradeira”.

their parents and they could not leave the house without their permission. So, if they wanted to see their lover, they had to stand on the window during the day, waiting for him to pass by and make some kind of contact. Usually, when the men hen Brazil was colonized, walked down the street, they looked during the XVI and XVII at each other and he took of his hat centuries, there were very as a sign of respect and admiration. few people living in the country.

Basically, there were three or four fter my research, I was imcities spread all over the map and pressed about how such a they were composed by some rich simple thing as these sculpfamilies, which owned big farms and had some slaves to work for tures had such an importance, histhem. At that moment, people torically. Because, speaking about were still very conservative, so fine arts, Brazil has very few reprewomen were considered men’s sentatives. On the other hand, sevproperty and they could not leave eral different types of handicraft the house without their husband’s are produced around the country, or father’s permission. Therefore, especially in poorer areas, and they their marriages were arranged by can be very interesting, good quality works. Most of the people pass by these pieces without even noticing them, or not giving it its deserved importance. However, they are a great way that people have found to recall and register their story and tradition.

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CREATIVE PROCESS I

PREPARATION AND MATERIALS USED

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TESTING THE CLAY AND COLORS

- I have built the two small sculptures in the left to test the clay’s texture, as well as the ammount of time that it would take to dry.

- The pictures in the bottom represent my first attempt to create my sculpture. After, I have used it to test the colors and other materials.

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MATERIALS USED

1 - Air dry natural clay - in a neutral grayish color.

2 - Testing sculptures – sculptures made for the sake of testing the clay and the colors.

3 - Modeling tools – to build the woman’s features and soften the surface.

4 - Iron sticks - to steady the neck and head of the sculpture.

5 - Thin long brushstroke – to apply the paint and the nail polish.

6 - Acrylics - to color and give life to the figure.

7 - Black picture frame – to represent a window.

8 - Transparent nail polish – to create a shiny laid finishing.

9 - Industrial glue – to fix the sculpture on the frame.

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CREATIVE PROCESS I I

STEP BY STEP

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BUILDING THE SCULPTURE STEPS 1 - 10

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BUILDING THE SCULPTURE STEPS 1 - 10

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CREATIVE PROCESS I I I

TECHNIQUES

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T E C H N I Q U E S

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n the process of creating my piece, I had tried to build a sculpture using different materials, such as plastic and iron, to steady the clay, but the result was not what I expected. Firstly, because the clay did not work well with the plastic, so the head of the figure cracked. Second, clay is a heavy and soft material, which can change its shape during the drying process, because, while it is not completely dry, it can bend. That is why, it is important to create a structure sometimes. So, since my first attempt did not work, I decided to build a new piece and I used the previous sculpture to test colors and other materials.

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started my piece by building basic forms such as the shoulders, arms, neck and head. I did not carve the clay though, instead, I shaped all the body parts separately and added them to my basis, one by one, blending them together using, my fingers to form a single structure. After, I inserted a couple of iron sticks, crossing the head of the sculpture, until its bottom, to steady the clay and fix the neck. The following step was shaping the face and small details, so

I also added little pieces of clay to create the eyes, nose, mouth and ears. To create the curves and features, I have used the plastic modeling tools, and, to soften the skin, I have dept these tools in water and then I applied them to the piece.

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hen the basis was ready, I put the sculpture on the picture frame and shaped it, according to its format. To start the coloring process, I tested the paint on my previous sculpture, to try different combinations and see how the acrylics reacted with the clay. So, with a thin long brushstroke, I applied pink and light green to my character’s clothing, as well as different tones of brown to the skin and hair, and black and white for the eyes. It is important to mention that, I have started painting the bigger areas first, such as the skin and dress, and after I made the details, such as the eyes and mouth. To finalize my piece and give it a special touch, I applied transparent nail polish all over the surface of the sculpture, which made it more laid and shiny. After drying it, I attached the sculpture to the frame, using the industrial glue.

THE SCULPTING EXPERIENCE

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T H E

S C U L P T I N G E X P E RI E N C E

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he process of building this sculpture was my first experience creating a 3D object. In the past, I did not attempt to work with any sculpting material. And, it was interesting to realize how my drawing abilities were fundamental in this process. Because I have practiced drawing human faces for so long, it was not hard for me to get the proportions right. On the other hand, I have difficulties drawing arms and hands and it happened to be the most challenging part of the sculpture. So, I perceived that, just like drawing, sculpting requires a lot of observation and, the more you study your subject matter, the better the final result will be.

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haping the small details such as the eyes and nose was also a bit difficult, because my sculpture was very small, so I had to get familiar with the molding tools, and be precise as well. As the clay started getting drier, the work became more complicated, because the clay did not stick together anymore. Therefore, it was important for me to work fast and to keep isolated the clay that was not being used. When I finalized my piece, I was satisfied, because I thought it

had unity and it was visually pleasing. On the other hand, I think that I could have had a better result, specially, about the finishing of the sculpture, which has some imperfections. Having very little practice and a brief understanding about techniques does not contribute to create a masterpiece, so maybe my research was not deep enough and, as a consequence, I did not develop my abilities completely.

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reating this project has enabled me to discover new things about my own culture, as well as learning about the origins of certain traditions in my country. Therefore, knowing that I was acquiring knowledge while I expressed myself was a great feeling. In this context, working with clay was pleasurable and interesting. I particularly enjoy drawing with graphite much more than using any other medium, but I will consider to keep practicing my sculpting techniques and maybe to try different materials, such as papier machÊ and silicone. I believe it is important for an artist to try several different mediums, because it helps oneself to develop a clearer self awareness, and to define one’s style.

B I B L I O G R A P H Y http://www.mestrenoza.blogspot.ca/ (accessed 16 April 2013) http://pontodeculturamestrenoza.blogspot.ca/ (accessed 16 April 2013) http://namoradeiraecia. blogspot.ca/2011/07/origem-das-namoradeiras-de-janela.html (accessed 16 April 2013) Escultura com argila projeto arte sacra de iper贸 (2010) http://www.youtube.com/ watch?v=I1RL5m5sfzc (accessed 17 April 2013) Sculpting a female head in clay (2010) http://www.youtube.com/ watch?v=GH5Eri5pGW0 (accessed 14 April 2013) How to Make Clay Sculptures (2008) http://www.youtube.com/ watch?v=oHrYfu8a310 (accessed 12 April 2013)

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