MINIBIO
Mirta (1952 – Uruguayan by birth, Brazilian of nationality – RS) lives and works in Rio de Janeiro, Brazil. She studied watercolor with Alberto Kaplan in the 90s and drawing and painting at the School of Visual Arts of Parque Lage for 8 years. She currently takes a practical painting course with Prof. Luis Ernesto at the same school. She has been participating in Art and Psychoanalysis Seminars for 5 years. Her work was projected at the HQ Festival in Rio and Fortaleza in 2020, during the pandemic. In 2021 she presented her path Psychoanalyst/artist and her work at the Seminar “Inventions in Clinic and Contemporary Cultures” -Rio and in 2022 she was selected for the Uberbau-House 2022 residence, São Paulo – SP. She brings in her works with various materials, representations that transit between landscapes and silhouettes in dreamlike and imaginary elaborations of issues that permeate her research in psychoanalysis and art: Trans < > humanities. From personal and social questions, her images evoke the mysteries of human life and existence.
STATEMENT
My work in painting comes because of my professional and mainly personal career in the experience of Psychoanalysis. A question about the issues of human existence, life, individual and social differences, and the injustices and segregations that result from it was what weaved my subjectivity, my long professional career as a psychoanalyst and more recently as an artist in the field of visual arts. In both fields I research the fantasies, inventions, and possible singular solutions in the face of the anguish of existing that affects all human beings.
My painting is produced from the experimentation of the various materials and colors and is conducted from a minimal element deposited on the canvas. A trace. A contingency encounter, whether with stored materials, part of a baggage of life, of what is acquired from memories, which refer to the marks of events, traces of my personal history in the present time, whether using what is seen, of what others do, and how they do.
Through gestures, movements, materials, my manual making, expresses an imperative need to drain individual anxieties through gestural activities that bear the mark of a body event in childhood, elaborated in the early experience of cutting and manual stitching of pieces of fabrics. Other manual learnings followed against the backdrop of a desire and fascination for visual expression that remains throughout adulthood. Some reference or mark of these questions appear in my works at different times and with different techniques and materials in the free and impulsive use, without previous design that I make of colors, shapes, and their combinations, in my dreamlike and visceral making.
A recurrent singular trait is identified by the interest in the human figure, profiles, contours, body parts, headless bodies, and heads without bodies that express elements of psychic life, thoughts, and human relationships in their singularities. The female body that embodies a fault, a misunderstanding, a gap that is not sutured, was the starting point of my trace in the drawing. Its forms, contours, but especially the unknown it sustains, refers to emptiness, to the origin of life. Art, for me, is part of this space, in this gap that marks an impossible: creation, the invention of mixtures, images, forms, events that never run out.
TRANS<>HUMANITIES is how I name my research in the field of visual arts. The transformations that the human being produces. What is the limit of the human? In a world where everything seems possible, everything can be questioned, what would be the limit of this fluidity, of this freedom of action? How far does this intervention in nature, in your body and with our fellow men sustain a possible humanity and the resources necessary for the survival of the species? Is there any insurmountable point that would be put as a "guarantee" of humanity?
TRANS<>HUMANITIES brings together as a research project in art and psychoanalysis the above issues. It enlaces and produces in one field and another elaboration effects. A singular bricolage that in each new work brings me this point of surprise and interrogation. An unexpected that is named only later or remains as an enigma that moves my desire for artistic doing.
My work in painting comes as a result of my professional and mainly personal career in the experience of Psychoanalysis. A question about the issues of human existence, life, individual and social differences, and the injustices and segregations that result from it was what weaved my subjectivity, my long professional career as a psychoanalyst and more recently as an artist in the field of visual arts. In both fields I research the fantasies, inventions and possible singular solutions in the face of the anguish of existing that affects all human beings.
My painting is produced from the experimentation of the various materials and colors and is conducted from a minimal element deposited on the canvas. A trace. A contingency encounter, whether with stored materials, part of a baggage of life, of what is acquired from memories, which refer to the marks of events, traces of the history of the subject in the present time, whether using what is seen, if known again, of what others do, as they do, with what they do.
Through gestures, movements, materials, my manual making, expresses an imperative need to drain individual anxieties through gestural activities that bear the mark of a body event in childhood, elaborated in the early experience of cutting and manual stitching of pieces of fabrics. Other manual learnings followed against the backdrop of a desire and fascination for visual expression that remains throughout adulthood. Some reference or mark of these questions appear in my works at different times and with different techniques and materials in the free and impulsive use, without previous design that I make of colors, shapes, and their combinations, in my dreamlike and visceral making.
A recurrent singular trait is identified by the interest in the human figure, profiles, contours, body parts, headless bodies, and heads without bodies that express elements of psychic life, thoughts and human relationships in their singularities. The female body that embodies a fault, a misunderstanding, a gap that is not sutured, was the starting point of my trace in the drawing. Its forms, contours, but especially the unknown it sustains, refers to emptiness, to the origin of life. Art, for me, is part of this space, in this gap that marks an impossible: creation, the invention of mixtures, images, forms, events that never run out.
TRANS<>HUMANITIES is how I name my research in the field of visual arts. The transformations that the human being produces. What is the limit of the human? In a world where everything seems possible, everything can be questioned, what would be the limit of this fluidity, of this freedom of action? How far does this intervention in nature, in your body and with your fellow men sustain a possible humanity and the resources necessary for the survival of the species? Is there any insurmountable point that would be put as a "guarantee" of humanity?
TRANS<>HUMANITIES brings together as a research project in art and psychoanalysis the above issues. It enlaça and produces in one field and another elaboration effects. A singular diy that in each new work brings me this point of surprise and interrogation. An unexpected one that is called only later, or remains as unknown that moves my desire for artistic doing.