Between dripping and the abyss: word, matter, and gesture in Moreira and Dutka

Abstract

This article investigates interart relations and processes of intersemiotic transposition between Carlos Moreira’s poetics, as expressed in Seol, and Flávio Dutka’s painting. In light of Jackson Pollock’s Action Painting, it examines how automatism, flow, and the controlled chance of dripping create tensions within Moreira’s syntax and the materiality of Dutka’s canvases. Drawing on João Cabral de Melo Neto and Agnaldo Gonçalves, it analyzes the dialogue between word and image in relation to the archaic dimension of Sheol, revealing the convergence of matter, representational dissolution, confinement, and an ontological confrontation with finitude and historical vacuity.