Abstract
The nature and matter extracted from it enhance the formal imagination and the imagination of man. These two fundamental entities of artistic action lead to a use that can cause a creation poetics (Bachelard, 1942). From it derives the concepts of landscape and the history of its metamorphosis. Or, if we like, the constant problem of artifice versus nature. Or, yet, the problem of shaping a body and, as an image of its representation, was prioritized over it, in the current culture, in particular, in art. The touch, achieved by the materiality of the sculpture, is what allows us to establish this distinction between the immateriality of real culture and the offer of a haven in the face of the indiscernibility of the virtual world. In this context and through my sculptural work, it is verified as a problem of Landscape in Metamorphosis: Decline and Rebuilding of Natural in Real Art, subscribe to the questions mentioned above.
References
BACHELARD, Gaston (2012). Imagination and Matter//1942. In KASTNER, Jeffrey (2012). Nature. Inglaterra, Londres: WhitChapel/ Documents of conteporary art.
CAUQUELIN, A. (2013). Paisagem e virtual, dois mundos separados. In Paisagem e Património. Portugal, Porto: Dafne Editora / CHAIA. PP 19-31.
CASTEL-BRANCO, C. (2017). A Índia nos Jardins Portugueses. Portugal, Lisboa:
KRAUSS, R. (1981). Passages in Modern Sculpture. USA, Cambridge: The MIT Press.
MADERUELO, J. (1990). El espacio raptado. Interferencias entre Arquitectura y Escultura. Madrid: Mondadori.
WEISS, A. (1998). Unnatural horizons: paradox and contradition in landscape architecture. USA, New York: Princeton Architectural Press.
ROGER, A. (2008). Vida y muerte de los paisajes. Valores estéticos, valores ecológicos. In El paisaje en la cultra contemporânea. Espanha, Madrid: Editorial Biblioteca Nueva, S. L.. Pp 67-85.
SARDO, D. (2017). O Exercício Experimental da Liberdade. Portugal, Lisboa: Orfeu Negro.

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Copyright (c) 2020 Revista Visuais
