Eva Resende Eva Resende 2022 2022 www.studioevaresende.ga www.studioevaresende.ga Eva Resende (Porto PT, 1995) Eva Resende (Porto PT, 1995) works with phenomenological processes in image construction. Her principal aims are to investigate how the image can be formed and altered as well as how the image can be revealed and concealed by repetition. These investigations further lead to questions regarding the nature of the image itself (as ontological form) . In her methodology the artist uses the magic lantern, photomontages and google earth images as prostheses to conceptualise and understand the function of the human eye from a psycholog- ical, sensory and a cognitive perspective. Other themes that the artist explores include the work with memory as a concept, the An- throposcenic concept (with environmental engagement) and the life and death-drive (as elabo- rated in Melanie Klein’s psychoanalytic theory) expressed in a biographical photographic archive. Although, having a background in painting, the artist works within several disciplines. She links analog photography, cameraless photographic processes, engraving, video, installation, and digi- tal media applying these various techniques in accordance with the theoretical and practical basis of the work. Recently, lead on by conceptual and visual research, she has worked in a close link between visual analog practices and new digital media. Venn's diagram Venn's diagram Several images were taken from the internet of artistic works Diagram design in the Adobe Illustrator 14174 px X 14174 px 2021 P.1 _VENN ́S DIAGRAM : ART OVER AND P.1 _VENN ́S DIAGRAM : ART OVER AND AFTER APPROPRIATIONS AFTER APPROPRIATIONS The diagram is made as a sort of investigation to gain a wider understanding of an artist’s universe with the references and influences that comprise it. On the focus of the primary project questions re- search, it ́s made a process of selection and elim- ination of contents, concepts, and works by other artists. The appropriation of images of other artists’ works becomes the material for artistic practice and a test- tube for research. ^ ^ Archeology of images: manipulation, transfer, and dissolu- Archeology of images: manipulation, transfer, and dissolu- tion of the photo-archive tion of the photo-archive Installation of 24 transfers on aluminum plates install on the wall each plate 25 cm X 25 cm 2021 Mother Nº7 Mother Nº7 (from the Archeology of images: manipulation, transfer, and (from the Archeology of images: manipulation, transfer, and dissolution of the photo-archive) dissolution of the photo-archive) Toner transfer over aluminum 25cm X 25 cm 2021 P.2_ARCHEOLOGY OF IMAGES: MANIPU- P.2_ARCHEOLOGY OF IMAGES: MANIPU- LATION, TRANSFER, AND DISSOLUTION LATION, TRANSFER, AND DISSOLUTION OF THE PHOTO-ARCHIVE OF THE PHOTO-ARCHIVE The work uses photography integrating with engraving as an anti-aesthetic alteration of the im- age that accentuates its manipulative qualities. This is roughly marked out by an aggressive use of scratching (as if drawing in dry point) the photograph onto the metal plate. The images are transferred, but there is also a contrary effect in the process. The transfer destroys the image leaving only ghostly and fragmentary remnants of the initial image matrix. Through the dissolution of the image the metallic plates gain a new body (forgetting or a distancing of the primary photograph from the archive). ^ ^ ^ ^ Destroying Memories, Nº10 Destroying Memories, Nº10 Engraving on colored fabriano paper 25cm X 25cm 2021 ^ ^ P.3_DESTROYING MEMORIES SERIE P.3_DESTROYING MEMORIES SERIE The act of marking out a photographic image on a zinc plate with acetone alters its pri- mordial referent. The process is primitive and therefore the resulting image is a mere phan- tom fragment. In a second instance of printing the plate is tak- en to its extreme through the repetition of the printing of the plate. The image becomes en- tirely abstract often losing any similarity with the original photograph. The image is thus erased by the repetition of engraving. Thus, the attempt to reproduce (or in a sym- bolic way to remember it by its repetition) the image, in this case, results in the opposite ef- fect by gradually becoming more abstract. Mother Nº13 Mother Nº13 (from the Photo-biographic (from the Photo-biographic archive) archive) Fomapan Classic ISO 100 (film size 13 cm X 18 cm) - Large-format camera provided and built by FBAUP assistant 2020 ^ ^ P.4_PHOTO-BIOGRAPHIC ARCHIVE PROJECT - MOTHER P.4_PHOTO-BIOGRAPHIC ARCHIVE PROJECT - MOTHER “Griefs, blows, pain, abandonment, sadness, depression. Will I ever be like you? Oh! Mother who threw me into the world. I hope not, because I could be condemned by the genetics to a sad and weak mad- ness” (Eva Resende, 2017 from the textual file). The repeated use of the same photographed element elevates the pho- tographed subject (in this case the mother) to something symbolic. This repetition is used in a therapeutic and cathartic way to overcome the death drive. Detail of the installation ^ ^ Atlas of memories Atlas of memories Installation of 17 superimposed fabrics (bichrome gums, cyanotypes, and serigraphic prints) mounted on the wall 700 cm X 250 cm 2021 P.5_ATLAS OF MEMORIES P.5_ATLAS OF MEMORIES These images, that take up the entire dimension of the wall, are associated with the artist’s personal memories. These memories are then meant to occupy the space like a “virus”. The images themselves are re- vealed by a chemical process but can also be destroyed by exces- sive washing. This process of revealing and con- cealing the images is linked with the phenomenological symptom of forgetting and remembering traumatic episodes and are relat- ed to Melanie Kein’s theory about the life and death drive. Palimpsest Nº1 Palimpsest Nº1 (memory, family, and repetition) (memory, family, and repetition) Gum Bichromate in fabric and mounted on wood, acrylic paint, pigments, and varnish 152 cm X 215 cm 2021 ^ ^ P.6_PALIMPSEST SERIE (MEMORY, FAMILY, P.6_PALIMPSEST SERIE (MEMORY, FAMILY, AND REPETITION) AND REPETITION) This Serie is developed in three parts that consist of photo-biographical archives, paintings, and biograph- ical text. The images are created using a cameraless process where it is the light, by falling the photosensitive chemi- cal materials is the element that makes them reveal (by contact with the photographic negative or painted on acetate). In this technical process, the eye that sees is not the hu- man or the photographic camera, however, making a poetical comparison this can be replaced by the Sun. Faculty`s Garden Nº30 Faculty`s Garden Nº30 (from the Photo-biographic archive) (from the Photo-biographic archive) Salt print on watercolor paper 21cm X 23cm 2020 ^ ^ P.7_PHOTO-BIOGRAPHIC ARCHIVE P.7_PHOTO-BIOGRAPHIC ARCHIVE PROJECT - FACULTY ́S GARDEN PROJECT - FACULTY ́S GARDEN This work is a photo-biographical ar- chive. It includes references to Melanie Klein’s “the good object” (the artist’s photographs of college, friends, photomontages of family environments and love-letters) and “the bad object” (photographs of her mother, docu- ments about suicide and depression). The archive is an accumulation of photos into single work, where each image nev- ertheless stands out on its own(having their own imagetic and reflexive independ - ence). The motifs are repeated cyclically. They are finally broken down, and multi - plied into different ways of contemplat - ing the theme, conceptually and visually. From the Photo-biographic Archive - A32, Nº3 From the Photo-biographic Archive - A32, Nº3 Kodak Ultra Disposable Camera Roll Expiration date- 03-2003 35mm 2019 P.8_PHOTO-BIOGRAPHIC ARCHIVE PRO - P.8_PHOTO-BIOGRAPHIC ARCHIVE PRO - JECT - A32 JECT - A32 The autobiographical archive consists of the artist’s analog photographs. These often display places of her home and the FBAUP. More precisely do they display memories of places of comfort as well as of trauma, which intertwine on the highway A32, a route daily taking by the artist. Despite not considering this project confessional art, other examples being works by Tracey Emin or Nan Goldin, the work operates with an open narrative by use of fragments of photographed elements. ^ ^ The installation’s prototype oper- ates as a light-box, an optical device from which private archive-images (printed on acetate film) are projected. The images display personal content of the artist. They are accumulated like a patch- work-panel on the car windows and are thus projected towards the outside like a light-box, exposing an intimate narrative to a public space. The car, that unites the places photo- graphed, thus becomes a cry of desire that gives way to the title of the work. I JUST WANT TO RUN AWAY I JUST WANT TO RUN AWAY Installation with a car, acetate images on car windows, and interior lighting installation Variable dimensions 2022 P.9_I JUST WANT TO RUN AWAY P.9_I JUST WANT TO RUN AWAY ^ ^ P.10_MAKING IMAGES APPEAR PROJECT P.10_MAKING IMAGES APPEAR PROJECT A magic lantern is constructed as a technolog- ical simulacrum of the phenomenological processes of vision construction. Similar to the image construc- tion in a camera obscura, the magic lantern also in- verts the image. Experiments with magic lantern were first carried out with objects and later with replicas of paintings (ex- ample of Gerhard Richter’s Woman Descending the Staircase). In the process the magic lantern dissolves the image until total abstraction. This process is cyclic and finally restores the image: the painting is inserted into the magic lantern and its projection is painted (more dif- fuse than the one inside the object). This last project- ed painting re-enters the magic lantern to be repaint- ed its projection. This process is repeated until the image is abstracted. The image is revealed but the optical device blurs it, dematerializes it until its dissolution. Still Life on a Magic Lantern - Still Life on a Magic Lantern - Experiment Nº2 Experiment Nº2 Video Frames 640 px X 368 px 1`23`` 2021 (sequence on the righ side of the page) (sequence on the righ side of the page) Descending the Staircase from Gerhard Richter on Descending the Staircase from Gerhard Richter on a Magic Lantern - Experiment Nº3 a Magic Lantern - Experiment Nº3 Video Frames 640 px X 368 px 1`04`` 2021 ^ ^ P.11_PROJECT DIAPHRAGM P.11_PROJECT DIAPHRAGM An analytical experiment of the construction of the hu- man eye-pupil or camera diagram. A construction of 24 tabs that open and close in a circular mechanism. This is a project that investigates technological mechanisms to quantify the entrance of light by using this method. Schemes for building optical tabs Schemes for building optical tabs Vector drawing in Adobe Illustrator 2000 px X 2000 px 2014 Optical movements Optical movements laser cut on wood (woodcut) charbonnel ink on fabriano paper 30cm X 40 cm 2014 ^ ^ ^ ^ P.12_ORYCTES NASICORNIS P.12_ORYCTES NASICORNIS PROJECT - OR AN APPROPRIA- PROJECT - OR AN APPROPRIA- TION OF KHEPRI TION OF KHEPRI The beetle (scientific name of Orctes Nasicornis) and the history of photography are here the central re- search-elements. In ancient Egypt the beetle (Kepri) in- carnated one among many deities that corresponded to the Sun and symbol- ised the force that carries the sun across the sky. The relationship between Kepri as the sun; the investigation into the history of photography (by focusing on Talbot’s premise that light is the “pencil of na- ture”) finally makes a correlation with the material or photographed world. This material world is impersonated by the stone lapiz-lazuli, with pictorial- ly correlates with the ultramarine pig- ment. Oryctes Nasicornis - or an appropriation of Khepri Oryctes Nasicornis - or an appropriation of Khepri (Conceptual research map for the project) (Conceptual research map for the project) Installation with varied materials: photographs, drawings, paintings, texts, pigments, acetate sheets, etc... 220 cm X 220 cm 2014 Oryctes Nasicornis - or an appropriation of Khepri Oryctes Nasicornis - or an appropriation of Khepri Nº15 Nº15 Cyanotype on watercolor paper 23 cm X 50 cm 2014 Oryctes Nasicornis - or an appropriation of Khepri Oryctes Nasicornis - or an appropriation of Khepri Nº43 Nº43 Sculpture installation: Scarab, lapis lazuli stone, ultramarine pigment inserted inside aquarius 25cm X 25 cm X 20cm 2014 ^ ^ ^ ^ ^ ^ P.13_SERIE - FROM THE BALCONY: PICTORIAL VARIA- P.13_SERIE - FROM THE BALCONY: PICTORIAL VARIA- TIONS IN AIR SPACE THROUGH TIME TIONS IN AIR SPACE THROUGH TIME The view from the marquise of the house extends for kilom- eters with no other visual barrier than the morning fog that often accumulates around the D. Luís bridge in Porto. This view is photographed several times with Polaroids, recording the variations in the light occurring during the day. A Praise of Rouen Cathedrals, Monet’s Paintings. Thus, the atmospheric variations of the landscape are demarcated by the Sun in the time it takes it to travel across the sky. Our ocular retina retains and adapts to these variations. 6 pm of 13-03-2020 6 pm of 13-03-2020 (from the serie - From the Balcony, (from the serie - From the Balcony, pictorial variations in air space through time) pictorial variations in air space through time) Polaroid 88mm X 107mm 2020 ^ ^ P.14_TIME, VIDEO, AND EYE PROJECT P.14_TIME, VIDEO, AND EYE PROJECT This project explores what David Hockney calls “Mul- tiple Window” which can be pictorially correlated with works by Pieter Bruegel and Van Eyck. This is not just a mere painting or a wide-angle photograph taken as if it were a fisheye. Rather it is the fusion of opti - cal theories with eye-tracking that is associated with video (they are then fragmented into frames using a comput- er PrintScreen). By this process the construction and the composition of the image are premeditated. These montages are positioned in an anti-aesthetic way in relation to the “normative” principles that are considered normal in painting, such as is seen in e.g. loco observation painting. This three-parted division of Time, of the Eye (observing the visible world), and the Video (the technological pros- thesis of the eye) that records it constitute the principles of this project . To Genre Painting, “Tiago in the balcony” To Genre Painting, “Tiago in the balcony” Nº3 Nº3 (from the series time, video, and eye) (from the series time, video, and eye) Digital photomontage 864px X 781px 2020 ^ ^ P.15_AFTER THE MAIDS (FROM PAULA RÊGO) - P.15_AFTER THE MAIDS (FROM PAULA RÊGO) - APPROPRIATIONS AND PHOTOMONTAGES APPROPRIATIONS AND PHOTOMONTAGES This serie is constituted of a single video that explores photomontages. The starting point is a visual referent to the work “The Maids” by Paula Rêgo. In the methodological process of the work, the video PrintScreens are compiled into an Adobe Indesign document and the images are digitally assembled. In this process, the selection; the choice of image uses it; the reference point of continuation “of a collage”, all these choic- es that determine the final composition vary depending on the montage decisions made. This is because these choices determine whether the final image will be closed (a lot of depth of field and little information or extension of the im - age limits) or if, on the contrary, said in parentheses, it will be open (a fisheye that leads to its limits aperture field, which often exceeds 180º). This is thus a study and reflection of the composition of the image and the eye/camera that records it. After The Maids (from Paula Rêgo) Nº5 After The Maids (from Paula Rêgo) Nº5 Oil on canvas 230 cm X 184 cm 2019 ^ ^ P.16_VARIATIONS SERIES : REPLACING COLORS P.16_VARIATIONS SERIES : REPLACING COLORS In a comparison with the RGB chromatic process a series of serigraphs are carried out as pictorial exploration. The layers overlap each other, culminating in a three-coloured image of a pixelized nature, existing a parallel with the analog- ical technique of serigraphy and the digital universe (picture in contemporary technological devices). Variations of “To Genre Painting, Nº1” Variations of “To Genre Painting, Nº1” (from the series time, video, and eye) (from the series time, video, and eye) Serigraphy in 3 colours on Fabriano paper 50cm X 35cm 2021 ^ ^ Learning in an Antropangeia Era: Learning in an Antropangeia Era: 06/9/2021 - Time 15.45h (GMT+1) 06/9/2021 - Time 15.45h (GMT+1) Egg tempera on wood prepared with Bologna powder 28,5 cm X 24 cm 2021 In an out - Image and phenomena: Eternal In an out - Image and phenomena: Eternal Loop in repetition Loop in repetition Egg tempera on wood prepared with Bologna powder 33 cm X 28 cm 2021 Study for creation of an authorial entity Study for creation of an authorial entity Egg tempera on wood prepared with Bologna powder 28,5 cm X 24 cm 2021 The Art`s (not) here The Art`s (not) here Egg tempera on wood prepared with Bologna powder 28,5 cm X 24 cm 2021 Utopian building under construction Utopian building under construction Egg tempera on wood prepared with Bologna powder 28,5 cm X 24 cm 2021 QR code Serie QR code Serie 5 egg tempera paintings on wood prepared with Bologna powder 4 with 28,5 cm x 24 cm and other with 33cm X 28 cm 2021 P.17_QR CODE SERIE P.17_QR CODE SERIE ^ ^ In this work the image is conceived from the dialogue be- tween the digital and the analog as a phenomenological prosthesis of our experience with the world in a highly digital age. Egg tempera paintings represent in a crude way QR codes. The paint- ings, that to the subject ́s eye seem to reveal only monochromatic abstract information, possess the actual function of QR codes, and the spectator can access them by use of a cell phone(opening con- tent that can be understood by the viewer, even questioning it). The QR codes open up content leading to various web pages (with content such as happening via zoom, gifs...). The website links also contain an institutional critique of the facul- ty museum (where the codes are exhibited) as well as the institu- tion’s archaic teaching methods, hinting at works by Andrea Fraser. P.18_ANTROPANGEIA PROJECT P.18_ANTROPANGEIA PROJECT The Antropangeia Project explores territorial in- tertextuality and is carried out in collaboration with Rafael Oliveira and Jorge Marques. This project was developed under the prism of globali- sation and the interaction of people through technol- ogy, in particular with the internet. By using such method that the MAP project (Universi- ty de La Plata, Argentina, University Muxia, Spain and University do Porto, Portugal) has been developed. We can in the light of this fictionalise a universe that a little poetically can be called “pangaic” human terri- tory, referring to Pangea, the geological epoch when all world territory was united. The work is full of imag- inary iconography in which the map reveals a territory inhabited by one united population under a common flag and anthem. Antropangeia Antropangeia Installation with 9 objects (mix media) Variable dimensions 2021 Imagery representation of fictitious cultural identity? Imagery representation of fictitious cultural identity? Egg tempera on wood 10cm X 7cm X 0,3 cm 2021 ^ ^ ^ ^ Anthropocene - Nº3 Australia Anthropocene - Nº3 Australia Mixed media (four visual and textual elements: oil paint and bologna pow- der on paper glued to wood; oil paint on oil paper; toner print with oil ink and another toner print) 93 cm X 81 cm plus 93 cm X 48 cm 2021 P.19_ANTHROPOCENE SERIE P.19_ANTHROPOCENE SERIE Each work in this series is divided into three parts and a fourth that is a radicalization of pictorial practice. The first work is a printed google earth image, or rather the map/image processed by a technological object that expands our phenomenological experience of the world. The image further breaks with the limitations of human perception. In a second moment, news related to an environmental crisis appears (the google maps show ́s their place). Here color-tests are performed for the third point. In this third segment of the work a pantone painting is carried out, replicating colors from the google earth map as if it were a color match- ing (a reference to Francis Alys, with the video Color Matching, 2016 ). It is thus that the fourth work reveals itself. At this point the painting is noth- ing more than an artifice that selects colors from the map and reproduces them. The theme (Anthropocene) proves various limits to an expression in paint- ing. These are revealed in this mere technical exercise as if it were an absurd action. Painting, per se , becomes absurd in the face of the world’s dilemma. ^ ^