A pintura cerâmica de Cecília de Sousa de 1980 a 1990 : a exploração plástica dos materiais e técnicas da pintura cerâmica

Abstract

IIn approaching the ceramic painting as painting with an expressiveness of its own, we aim to define the pictorial identity. We believe that this identity is characterized by pictorial materials and technical processes rather specific and decisive to its appearance. The plastic potential contained in the ceramic materials regarding to exploring visual and tactile qualities have created an attraction in some plastic artists, throughout the history. What did attract them? An idea inspired by the pictorial materials of ceramic that generates the impulse to create? An idea that is subsequently created by means of these materials? Which creative processes do inspire and are inspired by these materials? These are issues in need of an answer. The aim of this work is to analyze the implications in the pictorial process of ceramic painting and to understand its identity. Therefore it has been divided in three parts: The first part deals with issues related to the materials and techniques of ceramic painting. Materials like clays, engobes, pigments and glazes are characterized. A reference to the media and means of ceramic painting is also included in this first part. To complete this introduction we point out some contexts of ceramic painting such as the chromatic component, the light reflection, the action of textures, and the influence of surfaces. In a second moment the ceramic paintings of the portuguese ceramist Cecilia de Sousa between 1980 and 1990 is analyzed. Cecilia de Sousa uses the ceramic materials on a painting that, in our point of view, strengthens the ceramic materials. The artistic expression of her work, especially in this period, is an example of the potential expression of these materials. Cecilia de Sousa’s intuition of the special nature of ceramic materials for creating her works as well as her handling of painting surfaces as pictorial material were the reason why we elected her work for this technique is not always present in ceramics. The materiality of her paintings, given through a certain process, seemed important to demonstrate the potential that the pictorial materials can pose to artistic expression. In the third part, and in conclusion, we interpret the results in order to contribute to a better understanding of the expressive potential of ceramic materials and processes, as well as of the ceramist Cecilia de Sousa painting, in that period