Journal of the Art Education area linked to the Postgraduate Program in Visual Arts, at the Arts, Design and Fashion Center of the Santa Catarina State University. ISSN: 2447-1267 Frequency: Continuous publication model Year of criation: 2015
Universidade do Estado de Santa Catarina
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The Philosophy of the Creative Gesture in Paul Valéry
This text proposes to investigate, in the work of Paul Valéry, the conception of a philosophy of the creative gesture, or, more precisely, to understand how –through the movements that produce human sensibility, from its general characterization as an unconscious response or reaction to that in which consciousness, in an elevated condition of wakefulness, develops the capacity to compose complex actions, according to the author’s understanding– the creative aesthetic conduct takes place in his thought. To this end, the analysis of part of the work Cours de Poétique is intended, especially of the first lessons contained in the first volume, referring to the period from 1937 to 1940. In this way, an attempt will be made to glimpse and delineate the thought of creation according to Valéry’s assumptions and precepts.
Copyright (c) 2026 Letícia Testa, Máximo Daniel Lamela Adó https://creativecommons.org/licenses/by-nc/4.0
Opening the eyes: Children’s Drawing through the collection of alternative materials
This essay discusses a case study carried out in the course Artes Visuais e Grafismo Infantil (Visual Arts and Children’s Drawing), offered in the second semester of the Licenciatura em Artes Visuais (Visual Arts License Degree) at the Universidade do Estado de Santa Catarina (UDESC). Through a set of drawing propositions developed with a ten-year-old child, the text examines how different pedagogical approaches shape children’s graphic production, revealing shifts from the usual drawing schemas toward a more attentive process of observation and experimentation. The discussion is informed by two key concepts, collecting and pedagogical scene, understood as organizational practices that mediate the perception and aesthetic experience of materials, in dialogue with Cunha (2021), Silva (2017; 2022), Lima and Lampert (2023), and Albers (2006).
Copyright (c) 2026 Maria Fernanda Elias , Tharciana Goulart da Silva https://creativecommons.org/licenses/by-nc/4.0
Revealed Blue: dialogues between cyanotype, creative processes and learning
This report presents the experience of using cyanotype as an alternative pedagogical tool in Visual Arts education, exploring its potential to enhance the creative process and expand students’ expressive possibilities. The proposal was developed within a Professional Master’s Program in Basic Education Practices, integrating art, science, and nature in a poetic and experimental way. The experience unfolded in two stages: the implementation of an educational product focused on the theme of identity, and a workshop inspired by the trajectory of botanist Anna Atkins (1799–1871), a pioneer of photography. The results show that cyanotype, by combining scientific investigation with artistic expression, stimulates students’ curiosity, sensitivity, and autonomy. The technique proved to be more than a subject to be taught—it became a way of thinking and experiencing art meaningfully, transforming light, time, and observation into language, creation, and learning.
Copyright (c) 2026 Andiara Lourenco, Francisco Roberto Pinto Mattos https://creativecommons.org/licenses/by-nc/4.0
Temporary studios: artistic residency as a creative space
This article analyses artistic residency initiatives that support the development of projects and research of visual artists. We propose to consider the creative spaces of artistic residencies as temporary studios, understood as places of encounter and dialogue among artists, critics and curators. We begin by addressing the strategies behind the creation of Bolsa Pampulha (MG) and Bolsa Produção para Artes Visuais (PR), taking into consideration that these are projects carried out in urban centers through cultural institutions. We then analyze the experiences of Residência Sergius Erdelyi and Residência Fim do Mundo, both projects carried outside capital cities, with the aim of providing an immersive experience that involves community engagement and local memories as part of the process.
Copyright (c) 2026 Milena Costa de Souza, Mariana Bernal https://creativecommons.org/licenses/by-nc/4.0
The studio as a territory of listening and chromatic thinking: Theoretical and practical reflections on color and the studio as a site of symbolic reinscription
This article reflects on the ongoing artistic process developed within the research project Kairos Babel, part of the PhD in Painting at the Faculty of Fine Arts, University of Lisbon. Centered on pictorial practice, the study approaches the studio as a territory of listening and chromatic thought, where gesture, color, and material intertwine as modes of knowledge. Based on the empirical observation of the workspace-considered both a physical site and a conceptual device-the research examines how the chromatic, material, and symbolic conditions of the studio influence image construction and perceptual experience. Drawing on theoretical references such as Josef Albers, Norman Bryson, Barbara Bolt, and Maurice Merleau-Ponty, the reflection proposes the studio as a performative field of learning, where knowledge emerges through action, experimentation, and error. The text further analyzes the use of pink as a chromatic and symbolic axis, relating it to the concepts of poiesis, “non-place,” and symbolic reinscription. It argues that pictorial practice, by interweaving experience, memory, matter, and color, constitutes a form of situated visual thinking and a process of identity reinscription.
Copyright (c) 2026 Vera Fonseca https://creativecommons.org/licenses/by-nc/4.0
Places destined for artistic creation, commonly, existences and projections converge; they allow us to see, as a sample space, facts and possibilities and, above all, they contain anxieties, desires and urgencies that cross and contaminate the artist’s thinking. In this sense, consisting of artistic propositions made during the years 2020 and 2021, a period in which, isolated, we survived the harshest days of the coronavirus pandemic, the present visual essay thinks of the domestic environment as a research laboratory, artistic processes as experiments, and the human body as an object of study and analysis. In this way, he presents a set of works that, guided by photographic practice and in dialogue with the imagetic universe of medical-laboratory sciences, drains anguish and reflections that arose in that context – in which the maintenance of life was conditioned to social isolation and human losses were transmuted into statistics, cold numbers almost detached from any trace of humanity; subjects transformed into objects. “body of studies, objects of analysis” registers, therefore, a cut of poetic investigation; samples of a practice associated with a specific time and place, a body and some fears.
Copyright (c) 2026 Henrique Walter Ribeiro, Rebeca Lenize Stumm https://creativecommons.org/licenses/by-nc/4.0
Seeing art from the studio: the inseparability of artistic process, place of creation, and meaning
This article seeks to deepen research into artistic processes from a perspective that focuses on the creative space—studios—in its multiple meanings, in order to reach layers of meaning that can be recognized in the finished works in an exhibition environment. To this end, a case study was conducted on the process of Rodrigo Dulcio, an artist of the 2000 generation, sculptor, and designer residing in Curitiba, Paraná, Brazil. The methodological approach for this study was provided by the movements of approximation and distancing from the studio space and the creative process. This approach allowed for immersion in the creative process and a panoramic view of it in relation to the local artistic field. To this end, a theoretical framework was adopted that sought to understand the experience of the creative space based on John Dewey and the creative process as the habitus of a field, based on Pierre Bourdieu. In this way, it was possible to verify how much the place of creation is intertwined with the creative process and how much this intertwining clarifies the relationships between the poetics of artists of the same generation and those of local predecessors and art history.
Copyright (c) 2026 Lilian Hollanda Gassen https://creativecommons.org/licenses/by-nc/4.0
Doing-feeling-thinking with threads and weaves: a proposal for educational research in art
The overall objective of this educational research in art is to create pedagogical spaces for encounter, experimentation, thought, and invention with artistic languages, particularly contemporary and traditional textiles. Since 2013, the Weaving Workshop located in the Bachelor’s Degree in Culture and Art at the University of Guanajuato, the institution where we work, has been characterized as a place that fosters experiences for doing, feeling, and thinking using threads and weaves. In this text, we seek to present some work processes and the methodological possibilities and reflective paths that we have observed/found in the teaching and artistic practice carried out with students who have taken the workshop. We investigate how working with artistic production processes, which involves the development of knowledge, skills, and competencies in art, has been reinterpreted by young university students in their personal and collective textile production projects.
Copyright (c) 2026 Vanessa Freitag, Miguel Ángel Arce Ortega https://creativecommons.org/licenses/by-nc/4.0
This essay presents some notes on the intelligent experience with the Paula Rego Teaching Plan: Giving Fear a Face, offered in the undergraduate course and taught by Professor Jociele Lampert as a partial requirement for Teaching Internship I of the Graduate Program in Visual Arts/Doctorate in the area of concentration Teaching Visual Arts, in the second semester of 2022, based on John Dewey's book Human Nature and Conduct, which highlights customs and their unfavorable influences on beliefs, emotions, and moral purposes. Specifically, this leads to a separation between habit and thought. In this work, Dewey states that thoughts feed thoughts and not actions in this separative process. Consequently, current methods in education multiply an imitative democracy of opportunities by not creating conditions for functional thinking. And art, in this sense, becomes poorer by depreciating the moral value of the arts. However, by providing instruction in the deliberative art of energies, with a harmonization of constructive forms, the investigative path in the teaching of painting makes use of a moral sense in the perspective of enabling practical skills to lead to the exercise of thought in an intelligent experience.
Copyright (c) 2026 Jaci Aico Kussakawa, José Carlos da Rocha https://creativecommons.org/licenses/by-nc/4.0
Atelier Notebook Intertwinings Between Art and Life
This article chronicles a research trajectory that approaches the teacher’s planning notebook as a device for artistic creation and pedagogical authorship. Evolving from its original function of organization, the object transforms into a territory for aesthetic experimentation and critical reflection, where pedagogical planning and artistic investigation organically coexist, the Atelier Notebook. The theoretical framework articulates Madalena Freire’s (1983) concept of planning, Ana Mae Barbosa’s (1991) Triangular Approach (with its pillars of knowing, reflecting, and producing), and John Dewey’s (2010) philosophy of art as experience, which conceives everyday life as the raw material for both artistic and educational practice. The discussion advances in dialogue with Conceição Evaristo’s concept of “escrevivência” (writing-living) and the curatorial work of Koyo Kouoh, both of whom value narratives in “minor keys” and the aesthetic power of the ordinary. The analysis of this journey, documented over two decades, demonstrates how the Atelier Notebook becomes a living archive of the teaching-learning process, a laboratory for graphic and chromatic studies, and ultimately, the premise for artworks that overflow its pages, such as murals and paintings. It is concluded that this practice legitimizes the educator as a cultural producer and reveals how the extraordinary can inhabit the ordinary, inviting a re-evaluation of one’s own daily records as acts of poetic insurgency and authorship.
Copyright (c) 2026 Fernanda Werneck, Jociele Lampert https://creativecommons.org/licenses/by-nc/4.0
This interview with Emmanuel Nassar addresses his artistic trajectory, creative processes, and reflections on artistic production, with an emphasis on chromatic relationships and the use of irony in his body of work. The text results from a series of dialogues initiated in August 2025 and developed throughout the same year between both artists. Embedded within a research project dedicated to the study of color and irony, the interview raises questions that deepen the understanding of chromatic development in Nassar’s work, as well as its possible connections to personal thoughts, narratives, and circumstances, particularly with regard to the use of irony in his visual practice.
Copyright (c) 2026 Júlia Hallal, Marco Giannotti https://creativecommons.org/licenses/by-nc/4.0
Exhibiting to Teach: Cultural Pedagogies and the Reconfiguration of the Afro-Brazilian Art Field (1988–2025)
This article examines how Black authorship has gradually occupied territory within the Brazilian art scene through a comparative analysis of six major group exhibitions dedicated to Afro-Brazilian art between 1988 and 2025. Taking A Mão Afro-Brasileira (1988) as a founding landmark, the study investigates transformations in the field by means of a structured database including artists’ gender, year of birth, state of origin, and educational background. The central conceptual framework is that of cultural pedagogy (Andrade; Costa), understood as the set of practices and cultural artifacts that produce learning processes, values, and imaginaries beyond formal schooling. From this perspective, exhibitions and catalogues function as formative devices that teach ways of seeing, interpreting, and narrating Black presence within Brazilian art history. The analysis also draws on Pierre Bourdieu’s notion of the artistic field as a space of symbolic dispute, as well as on authors such as Linda Nochlin and Sueli Carneiro in addressing racial and gender inequalities. The findings identify three curatorial tendencies—historical-genealogical, modern transition, and strongly contemporary—revealing territorial expansion, gender diversification, and academic consolidation. The study concludes that these exhibitions pedagogically reconfigure the criteria of legitimacy and memory structuring the Brazilian art system.
Copyright (c) 2026 Francione Oliveira Carvalho, José Albio Moreira de Sales https://creativecommons.org/licenses/by-nc/4.0
Movimento (Re)existência: poéticas de conscientização
O texto trata de ações desenvolvidas junto ao Movimento (Re)Existência, que ocorreu na Universidade Federal de Pelotas – UFPEL, no período de outubro a dezembro de 2016, como forma de oposição às alterações das políticas educacionais impetradas pelo governo federal, através da Lei nº 13.415 de 16 de fevereiro de 2.017 (ex-Medida Provisória 746/16). Alterações essas que interferiram no processo de humanização dos sujeitos e sua relação com a educação do sensível, dentro e fora do ambiente escolar. As considerações e a avaliação realizada realçam as lutas históricas em prol da manutenção do ensino da arte em todos os níveis de formação, no cenário nacional e local. O viés segue a dimensão micropolítica das práticas cotidianas, enfatizando o papel da arte e dos artistas como agentes políticos de transformação.
Copyright (c) 2018 APOTHEKE https://creativecommons.org/licenses/by-nc/4.0
ATELIÊ DE PINTURA 1336: AULAS E EXPERIÊNCIAS
Entrevista com o professor e pintor Alphonsus Benetti, exclusiva e concedida para os autores.
Proposições artísticas e jogos similares.
O Ensaio Visual Proposições artísticas e jogos similares resulta da disciplina Sobre Ser Artista Professor ministrada pela Professora Dra. Jociele Lampert no Programa de Pós-Graduação em Artes Visuais da Universidade do Estado de Santa Catarina – UDESC/CEART.
Sobre ser professor artista: possibilidades metodológicas para o ensinar e o fazer artístico
This is an account of the experiences in the class "On Being an Artist Teacher", which articulates theories and practices of arts teaching, mainly, from Dewey´s philosophical ideas. In his perspective, education is understood as an artistic (and creative) doing that opens space for the teacher-artist. Therefore, I would like to present the remarkable teaching methodology that was applied in the class, in the expectation that transgressive and active proposals such as this may stimulate new pedagogical practices and artistic processes. The discussion permeates the theoretical bases adopted in the discipline, mainly by the contemporary treatment of the invited speakers. Subsequently, the experiences of the cycle of challenges are presented, which were proposed as a way to instigate reflective thinking and research through artistic practices, as Sullivan (2005) conceives. The conception that art is also life and artistic and creative thinking are part of daily life were the main learning.
Copyright (c) 2019 REVISTA APOTHEKE https://creativecommons.org/licenses/by-nc/4.0
Artista.Professora.Pesquisadora em continuum
Being and Being steeped in creative states has been for years a founding choice. I invented words, images and artistic propositions at the same time. In this article I cut part of this production and I make links between Poem IX of the book of poems Caracol é uma casa que se anda. The central theme in both is CASA in a rather broad sense. Dialogue with writers, philosophers, artists and art educators. In them I anchor my anxieties and the ways of activating minimals of the world so that they see potent forms of art in lit lives.
This article intends to think about the processes of teacher- artist formation, taking as perspective the exploration concept. This concept was drawn from explorations in abandoned places and derived from an artistic project that became part of the research investments of the author. In this sense, the term designated for the artistic production also grew up with the theoretical questions. This possibility introduced another point of view about teacher formation in Visual Arts through the paths that compose the teacher-artist. These paths go beyond the formal learning fields and feed themselves with the diversity of actions carried out throughout the training processes.
This work is an invitation to the reader to think together the hip-hop cultural movement as a contemporary art and tool of teaching and social transformation and the creative processes of rap construction and the concepts that surround their constructions, along with their possible displacement to field of education. It is in this context that the concept that surrounds the Rhymer-Educator-Reseacher act is presented articulating the rhymer - one who creates music, improvises, verses and poems, transmits the message and also receives it - the educator - the one who teaches and learns in a joint way, uses the scientific and empirical pedagogy - and the researcher - the one who uses his experience, goes to the field seeks to give depth to his knowledge, investigates, searches and collects data through readings, interviews, and other techniques to get what you need. In this sense, the Rhymer-Educator-Researcher articulates through the hyphen.
Perguntas, anotações [sob exercícios de escrita e escuta]
O presente texto foi escrito sob o efeito de propostas de exercícios de escrita e escuta, e a partir da reverberação de apontamentos e reflexões ocorridas durante e após a oficina Laboratório Imersivo - Projeto TUBO DE ENSAIO, por mim conduzida em parceria com Andrea Bardawil, no SESC-Cacupé, em Florianópolis, em 2015. A oficina integrou as atividades do Projeto TUBO DE ENSAIO - Composição [Interseções + Intervenções], coordenado por Sandra Meyer, Jussara Xavier e Vera Torres. Deste modo, este texto desdobra reflexões de um texto homônimo, publicado no livro Tubo de ensaio: composição [Interseções + Intervenções] (2016), investigando algumas de suas perguntas e indicando outras reverberações de experiências, as quais atravessam meus processos enquanto artista, professora e pesquisadora. As anotações propõem diálogos com George Brecht, Yoko Ono, John Cage, Jorge Larrosa, Thierry Davila, Maurice Blanchot, David Le Breton, entre outros autores.
Cy Twombly: Rabiscos, Manchas e Borrões.
The paper discuss some of the characteristics that compose the draw and the painting; how these two languages relate to each other and where they differ. The text is based on the writings of the philosopher Roland Barthes, where he analyses Cy Twombly work from 1961 to 1979, and is based on Walter Benjamin essay of 1917, that presents the elements of painting and drawing in a disjunctive way. Both reflections explore aspects like the stain, the support, the stroke, inscriptions and graphisms. Barthes comments on elements that are present in Twombly’s paintings that could be considered exclusive in the drawing collection. From the approaches presented by the philosophers it is intended to promote a debate about these two languages, to discuss about the specificities of each one, and to reflect about how those characteristics are showed in the more recent art.
Criação, Experiência E Compartilhamentos – O Ser E Estar Artista Professor.
This essay, inserted in the debate around the theme "Artist Professor - be and being", brings together several personal reflections on the theme, also considering the experience of this researcher as a starting point. At the core of this question, the reflection to be developed should follow the be and being of this artist/professor, asking what it means to be one and the other, or just being full-time, am I or I am being an artist/ professor?
“Isto não é um cachimbo”: designares para um desenho e um ensino do Desenho emancipador
This work seeks to demonstrate and reflect on Drawing and its teaching since the comprehension of a Doctoral Research in Artistic Education at the University of Porto, Portugal, finalized in the year 2015. In addition, it discusses the research methods chosen in Art/Education Based on Visual Arts, in order to contextualize the appropriate methodological platforms for the presented problem. Focused and on the need to interpret what is to be "know how to draw" and "do not know how to draw", I bring some considerations from visual narratives in the logbook of that research, (re) looking at their own questions, questioning the discourses and practices disseminated in Visual Arts Teachers Education courses at the present time. By the end, I suggest a greater attention to the Drawing and its teaching in the Visual Arts Teachers Education in Brazil and Portugal.
O desenho na formação do profissional professor
Assuming that drawing has always brought apprehension in the teaching-learning process, as it is associated with the “technique”, mastery and training, the objective of this article is to propose, through the description of an experience, a creative alternative to the teaching of drawing in order to contribute to/for teacher's education. Through sharing a realization of the degree in Visual Arts, drawing enters both asa process intertwining, and in parallel with research on birth or acquired anomalies, contrasting the concept of beauty aesthetic that is often characterized by the essential route. Still, I make theoretical considerations about the school space, about the teacher and its role in the scientific and social relations in the subject's formation, as well as about the significant contribution that this language can to the perception, reflection, and creativity in the student-reality-art relationship.
Na superfície da areia o movimento efêmero do desenho
This paper addresses the design on the sand surface observed in aesthetic journeys made in Pontal da Daniela locatedin Florianopolis, Santa Catarina. In artistic practices by the edge of the beach, there was photographic images of small species of trails, inhabitants of this place that made up natural and spontaneous drawings without human interference. In the process of writing, between philosophical and poetic articulations, these images are presented in intersections with the notions of invisibility and visibility, present in the drawing language in Jacques Derrida, and with the configuration of an almost virtuality in David Lapoujade's views. Finally, the configuration of the work proposes to bring the sketches that are drawn and inscribed in the sandy territory, intensifying their minimum existences.
Uma reflexão autoenográfica sobre a aprendizagem e o ensino do desenho
This text addresses the theme of learning and teaching drawing from a personal experience. It aims to share knowledge about a specific context, which can be compared with other cases in this field of study. Based on the Auto-Ethnographic perspective of David M. Hayano (1979), it constructs a chronological biographical narrative.It presents a descriptive synthesis of everyday events related to the problem of the development of technical skills of figurative drawing. It describes some of the difficulties encountered during drawing teaching activities in undergraduate courses in the field of visual arts. It lists some of the strategies used to overcome them, and ends with a reflection on the role of repetitions and corrections in the acquisition of these competences.
O Desenho-Escritura de Ana Hatherly e Mira Schendel
A arte contemporânea é um regime de saber que tem se tornado cada vez mais permeável, portanto as contaminações entre disciplinas e meios é uma recorrência. Os desenhos de Mira Schendel e Ana Hatherly que se fundem. Com seus textos e escrituras são exemplos do diálogo entre narrativas, memórias e diários que expandem o processo plástico. O presente artigo aborda o desenho das duas artistas e sua relação com a escrita.
O desenho como membrana: processos, aprendizados e compartilhamentos
O presente artigo pretende refletir sobre a importância do desenho como ferramenta sensível e produtora de conhecimento, assim como, uma técnica porosa, que atravessa e faz parte de diversos modos do saber. Em sua capacidade plástica de criar imagens, o desenho também carrega a possibilidade de emancipar a imaginação, fazendo parte de nossos projetos de vida, assim como, também, de um projeto cultural, político e social em perspectiva mais ampla. Com essas premissas, traço reflexões sobre a prática e a operação dessa linguagem, ampliando os processos porosos do desenho às urgências e necessidades do cotidiano vivido e compartilhado.
The Notebooks of Leonardo da Vinci,1 copilados e editados dos manuscritos originais por Jean Paul Richter são evidências cabais de que para Leonardo o desenho era fundamental em todas as suas múltiplas atividades. Contudo nos dias atuais há um desinteresse enorme por pesquisas que esclareçam a importância do desenho para profissionais projetistas, para o cotidiano das pessoas, para o desenvolvimento da cognição e na educação para as Artes, para o Design, para a Arquitetura. Até mesmo o desenho da criança tão estudado até a década de 80 tem sido esquecido. De Luquet (1913) a Claire Golumb (1992)3 muita pesquisa confiável foi produzida sobre a evolução do desenho livre da criança, mas o que se escreve e se vende hoje são meras receitas para aprender a desenhar, entre elas o livro Drawing on the Right Side of the Brain Workbook (1998)4.Os exercícios que Betty Edwards propõe neste livro produzem bons resultados por serem desinibidores da expressão, mas cientificamente nenhuma pesquisa demonstrou que realmente ativam o lado direito do cérebro.
Sensations, mixtures and plasticity: when children experience and discover contemporary art
This article aims to discuss the approaches of children to contemporary art in school contexts pointing to possibilities of propositions that foster this meeting.