Dibujar a ciegas. Cartografias del espacio oculto en la Catedral de Sevilla
[EN] How to draw a space you cant’t see? This essay offers the reader an experience: close your eyes to see better, try to draw what you now do not see. Drawing blindly involves an overwhelming creative stimulation, our body becomes a tool, a cane that guides us in the attempt. When unsighted, touch...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/119213 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/119213 |
| Access Level: | acceso abierto |
| Palabra clave: | Dibujo Ceguera Espacio oculto Catedral de Sevilla Drawing Blindness Hidden space Seville Cathedral |
| Sumario: | [EN] How to draw a space you cant’t see? This essay offers the reader an experience: close your eyes to see better, try to draw what you now do not see. Drawing blindly involves an overwhelming creative stimulation, our body becomes a tool, a cane that guides us in the attempt. When unsighted, touch, hearing or smell become a more objective and scientific form of perception than sight itself. It’s fascinating to try to draw something that has been smelt or touched but has not been seen. Using as reference the group of engravings by Pablo Picasso used to create the Minotaur, we will be entering a hidden and unknown world, lethargic in the bowels of Seville Cathedral, with the difficult task of trying to map it. Strange drawings that emerge from darkness, in which the base is not light but the absence of it. These blind cartographies suggest more than they represent, they suggest an action, encouraging the reader’s interaction with them. When opening the drawing a revealing shadow spreads on our table. |
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