Extraviando imagens em um percurso autoformativo
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2024-02-02
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Universidade Federal de Goiás
Resumo
This dissertation sets out to think about how visualities guide the formation of subjects
and, consequently, the implications they have for their understanding of themselves. By
visuality I mean the constructed ways of looking or the culture of seeing apprehended in
its social and historical context, which enables certain ways of seeing ourselves and
weaving self-images from these conceptions. I place myself as the subject of this
autobiographical investigation, with the aim of reviewing my training process together with
the images that represent the authorized ways of seeing that were given to me from my
experience as an EXTRAviada child, who understands himself as a young gay man in a
homophobic society, based mainly on religious beliefs. The concept of misplacing images
arose from the appropriation of the work by artist Bento Ben Leite entitled “Born to
ahazar” (2013), which was censored at the exhibition Queer Museum: cartographies of
difference in Brazilian art in 2017, which propagated the concept of the queer child. Based
on contributions from the field of visual culture studies, I sought to understand the role of
images as devices that help in the process of understanding the subject about their life
trajectory. I find in artistic practice a self-formative potential that throughout history has
enabled various subjects to claim the autonomy of their gaze on themselves, unleashing a
self-creative process that is also self-formative, which according to Pineau (2014) consists
of "becoming an object of formation for itself" (p.95). Faced with the impossibility of
conceiving of myself as a subject based on the identities that have been offered to me, I
try to create my own references, going beyond the meanings of the images that have
(con)formed me into a distorted and limited perspective of who I could be. Through artistic
practice, I reflect on my formative journeys as a subject, returning to the path of creating a
character called Mimimon that I developed during the initial years of my undergraduate
degree in Visual Arts, which records my formative journey in relation to the images that
guided my formation, from which I intend to question my experiences and understand the
constitution of the gaze on myself. The image of this character, which is close to the
conception of the Devil that I acquired in childhood, is seen as a counter-visuality that
authorizes me to claim my formative power to confront the beliefs that have restricted my
gaze. In the end, I realize that the dissertation has become a space for formative and
methodological experimentation that helps critical reflection on the construction of the
subject's own gaze, supported by the images that contributed to his formation,
appropriating the Biographical Project Workshop (Delory-Momberger, 2006) to propose
the Autobiographical Visual Narratives Workshop, process in which I have immersed
myself throughout the research as research method of investigation and the main
contribution of this dissertation to the field I’m inserted.