Who do you think you are?

Impressions

The hope is that this account will provide an opportunity formore people to participate, not just in similar workshop initiatives, but the many other possibilities that are createdby using the new technology as an appropriate research tool inthe visual arts and as a virtual gallery and archive resource.

My congratulations to all those that worked on the project andthose that will take it forward.

Dr. Lucia Gouvêa Pimentel.

What follows is a selection from the huge body of work producedandrepresents eleven of the twenty participants. The accompanying text/annotation is taken from fieldnotes/journalsand was used to caption the work in the final exhibition at BelaArts and in its virtual exhibition format.

The Licenciatura Course at theSchool of Fine Art of theFederal University of MinasGerais (EBA/UFMG), in Brazil,prepares Art teachers to teachin Fundamental and Middleschools. It is a four-yearcourse, in which the first twoyears are common to students whoaim to be artists and those whoaim to be teachers.

Over this period (1998-2000) weused curriculum material in bothcourses to develop the notion ofrelated curriculum workshops andthese ran parallel to each otherin 1998-99. In May 1999 myUniversity invited both TomDavies and Pete Worrall to leada workshop in Brazil and to support this by illustrated presentations to contextualizetheir work in art teacher education and ICT. The resultingproject is the main content ofthis online publication. 20 participating students wereinvited to bring a small collection of personally significant items that could beused as a workshop startingpoint and Tom and Pete broughttheir own collection. The choiceof objects and the practicalworkshop methods focussed on theworking title:

Who do you think you are? -Impressions.

Maria Amélia Palhares and I collaborated over the ten-daymodule and the work as a wholewas developed over one semester.It culminated in a mixed exhibition: work that had beenproduced by traditional methods,and virtual work that was sharedas a 'live' project using ourlink to a website. Eventuallyentitled Cultural Identity,Digital Media and Art Educationit could be said that, althoughit may have been more diffusethan the PGCE/UCE workshops inthe UK, the intensive modulemaintained the same workingprinciples.

The reported project achievedmany desirable learning outcomesand I am delighted with the workproduced and this paper-basedrecord of the experience.

Cat:311.10CULTURAL IDENTITY AND MASS IMAGESMarcos Antônio Venuto

I chose the sweet called “Chita”because it brings a memory of child-hood, and also a collective memory: ithas been popular in Brazil across var-ious generations and in all socialclasses. In addition, there are thevisual elements of colour, shape, etc.To use the symbol of the sweet - them o n k e y Chita - and to place its image virtually in a public and politicalspace indicates the possibility of continuing and maintaining culturali d e n t i t y

e n m a s s e .

IDENTIDADE CULTURAL EI M A G E M M A S S I F I C A D A

l Self Portrait - computer generated image (Meta Creations Painter 3D) pChita installation 1 v Digital Collage x Virtual Computer Site SpecificRealisation (Belo Horizonte) n Chita installation 2

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IDENTIDADE CULTURAL E IMAGEMM A S S I F I C A D AMarcos Antônio Venuto

A bala “Chita” foi eleitaporque traz a lembrança infan-til e também a lembrança cole-tiva, pois é popular no Brasilatravés de várias gerações e emtodas as camadas sociais. Alémdisso, tem elementos visuais dec o r , forma etc.Usar o símbolo da bala - a maca-ca Chita - e colocar sua imagem v i r t u a l m e n t e em um e s p a ç o público e político indica apossibilidade de poder, massi-ficadamente, continuar a mantera identidade c u l t u r a l .

Marcos Antônio Venuto

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Cat:313.02HUNTER OF MYSELFSimone Batista de Andrade

In a spiral, I try to find myself in thecourse of my individual formation, influ-enced by tradition and social environment. I search the past for eachexperience I have lived, each emotion Ihave felt, each piece of knowledge I havegained. Always in continual growth, in aspiral, opening and opening until i n f i n i t y .Now, global influence, new technologies.

Rupture or innovation?

CAÇADOR DE MIM

l Mixed Media Photo Montage p Mixed Media Painting 2 v Mixed MediaDrawing processed through 3D image mapping software. x Site SpecificInstallation (bamboo, string, computer printouts) n Virtual Computer SiteSpecific Realisation (Ouro Preto) u Mixed Media Drawing processedthrough image mapping software.

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CAÇADOR DE MIMSimone Batista de Andrade

Em espiral, procuro me encon-trar ao longo de minha for-m a ç ã o individual, influenciada pelatradição e ambiente social.Busco no passado cada exper-i ê n c i a vivida, cada emoção sentida,cada informação adquirida.Sempre em contínuo crescimento, em espiral, quevai se abrindo até o infinito.Agora, a influência g l o b a l , n o v a s t e c n o l o g i a s .

Ruptura ou i n o v a ç ã o ?

Simone Batista de Andrade

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Cat: 314.05THE UNIVERSAL TEMPLESoraya Coppola

This is a symbolic work which contains the personal and the universal.The egg contains, in seed, themultiplicity of being and of all possibility. It is the seat of all thetransformations. It is the symbol of theuniversal, explaining itself throughitself.The rose suggests love, secrecy,sensuality, death and life beyond thegrave. It is the flower of wisdom, ofnature and of creation: a higher life.Thestar means myself (Soraya is an Arabianname that means “morning star”) and my personal search. The five-pointed staris the central manifestation of light,the mystic centre. They are the higherpowers, eternal happiness.The shawl and the water are synonyms for the female, for the emo-tional. The womb is the centre of man.When we touch a body, we touch a personwith all that person’s history: we nevertouch just the body, but also a personala n d u n i v e r s a l m e m o r y .

O TEMPLO UNIVERSAL

l Mixed Media Installation 1 p Mixed Media Installation 1 (Work inProgress) x Mixed Media Installation -1 (Detail) v Site SpecificInstallation 2 (Work in Progress) n Site Specific Installation 2(Work in Progress)u Virtual Site Specific Realisation (Belo Horizonte)

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O TEMPLO UNIVERSALSoraya Coppola

Este é um trabalho simbólico que contém o pessoal e o universal.O ovo contém em germe a multiplicidade dos seres e todas as possibilidades. É a sedede todas as transformações. É o s í m b o l o do universal explicando-se por si mesmo.A rosa remete ao amor, ao sigilo, à sensualidade, à morte e vida além do túmulo. É aflor da sabedoria, da natureza e da criação: uma vida mais elevada.A estrela significa a minha pessoa (Soraya é um nome árabe que significa “estrela damanhã”) e a minha busca pessoal. A estrela de cinco pontas é a manifestação centralda luz, do centroi místico. São os poderes elevados, a felicidade eterna.O xale e a água são sinônimos do feminino, do emocional. O ventre é o centro do homem.Quando tocamos um corpo, tocamos uma pessoa com toda sua história: nunca se tocasomente um corpo, mas também uma memória pessoal e universal.

Soraya Coppola

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Cat:315.09

VANITIESRaquel Santos Lima

This work shows individual meanings through the useof signs, phases and the location itself.The ashes of printed paper suggest the e p h e m e r a l , in the vast historical existence of each one. It isa gift from “Pandora”, rooted in our culture. In theend, our life is no more than a bonfire of v a n i t i e s .The sphere shows our feelings, our expressivity, untouched [intocada?] and sovereign. At the same time, it leads us to believein our universality, i.e., we have our world (Earth)and we belong to it.The bonfire fighting the column shows a space warbetween nature and reason. This specificity connectsback to our own culture, where we are constantly

being tested about our real identity.

V A I D A D E S

l Mixed Media Installation p Mixed Media Installation (Detail)u Mixed Media Installation processed through 3D image mapping softwarex Site Specific digital image (Belo Horizonte) n Computer generatedvirtual site specific realisation (Belo Horizonte)

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V A I D A D E SRaquel Santos Lima

Este trabalho denota signifi-cações do indivíduo através douso de símbolos, frases e dopróprio espaço utilizado.As cinzas do papel impressotrazem significado do efêmero,na vasta existência histórica decada um. É um presente de“Pandora” enraizado em nossacultura. Afinal, nossa vida nãopassa de uma fogueira dev a i d a d e s .A esfera mostra nossos sentimen-tos, nossa expressividade, ento-cada e soberana. Ao mesmo tempo,leva-nos a crer em nossa univer-salidade, isto é, temos o nossomundo (Terra) e pertencemos aele. A fogueira que luta contraa coluna, mostra uma guerraespacial entre a natureza e arazão, esta especificidaderemonta sobre nossa própria cul-tura, onde estamos constante-mente sendo testados sobre nossa

real identidade.

Raquel Santos Lima

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Cat: 316.12

BALLS OF WOOL DO NOT ALWAYS HAVE JUSTONE STRINGMaria Luiza Viana

I have selected images of people whoguided me, showed me the way,opened theway; the places I have collected represent those ways.On the basis of this idea, I tore up,cut and stuck together the images,opening and closing spaces in the composition,creating shapes,coloursand movement, finding new paths. Thepaths formed a spiral. I put it in the centre. I included a photograph whichrelates to my encounter with art, my search for i d e n t i t y through it.I rolled up all the elements I had collected - photos, papers, leaves,objects, wire and string - as if theywere a ball of wool. I mixed them up ina sphere. Which has no end. It continues as itself and as life, e m i t t i n g e n e r g y .

NEM SEMPRE O NOVELO TEM UM FIO SÓ

l Mixed Media Photo Montage (studio) p Mixed Media Photo Montage(detail) v Site Specific Installation (plaster, wire, leaves, foundobjects) x Computer generated virtual site specific realisation.(localsecondary school)

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NEM SEMPRE O NOVELO TEM UM FIO SÓMaria Luiza Viana

Selecionei imagens de pessoas queme guiaram, indicaram, abriramcaminhos; os lugares que r e c o l h i representam esses caminhos.A partir dessa idéia, fui rasgando, cortando e colando asimagens, abrindo e fechandoespaços na composição, criandoformas, cores e movimento, achandonovas trilhas. Os caminhos formaram um espiral. C e n t r a l i z e i - a . Coloquei uma fotografia que remeteao meu encontro com a arte, minhabusca de identidade através dela.Enrolei, como se fosse um novelo,todos os elementos recolhidos -fotos, papéis, folhas, objetos,arame e fios. Embolei-os em umaesfera. Que não tem fim. Contínuacomo ela mesma e como a vida,emanando energia.

Maria Luiza Viana

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Cat:319.07LOOKING INSIDE MYSELFLuis Henrique Jorge

My first work was a collage withimages and objects linked to myidentity. Some were three-d i m e n s i o n a l (shoes, toys, a wallet) and others two-dimensional (texts, photographs).I was representing here my e x p e r i e n c e s , and questions linked to my person-ality, to my youth, to my work asan artist.I went on to work in anotherdirection, on the basis of one ofmy paintings, the image of which Iused both in Painter 3D and as a pattern to put on theimage of the structure made fromb a m b o o .The final stage was the siting ofthis virtual sculpture in Pope

S q u a r e .

p Mixed Media Structure (bamboo) v Work in progress. (unrealised) x Computer generated virtual site specific realisation.(Pope Square,Belo Horizonte) l Work in Progress.(Capturing data using a DigitalCamera)

O L H A N D O PARA DENTRO DE MIM

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OLHANDO PARA DENTRO DE MIMLuis Henrique Jorge

No meu primeiro trabalho fiz uma montagemde imagens e o b j e t o sligados à minha identidade. Alguns tridi-mensionais (tênis, brinquedo, carteira) eoutros bidimensionais (textos,fotografias). Aqui representei minhasvivências e questões ligadas à minha p e r s o n a l i d a d e , à minha juventude, ao meu trabalho comoa r t i s t a .Fui em direção a um outro trabalho, a par-tir de uma pintura minha, cuja imagem uti-lizei tanto em Painter 3D quanto como pat-tern para colocar sobre a imagem da estru-tura construída com bambu.A colocação dessa escultura virtual naPraça do Papa foi a etapa f i n a l .

Luis Henrique Jorge

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Cat:323.18 M E M O R YLígia Adriane Camargos Gomes

Who I am, my identity, relates tothings I think, feel and do. Ineach present realisation I contest, go on and back, reach andlose myself. I build a memory in order to think about myown passage through this time.From an initial point, I create a movement, I show an imagethat is p e r m e a b l e , changeable, communicative.Everything will end in another point which also ends buteven this will be the beginning ofa n o t h e r

s t a g e .

M E M Ó R I A

l Mixed Media Installation (bamboo, tissue paper, computer printout) x Mixed Media Drawing - Studio Detail (Muslin,computer printout) p Virtual Computer Site Specific Realisation (Belo Horizonte) v MixedMedia Drawing processed through 3D image mapping software.

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M E M Ó R I ALígia Adriane Camargos Gomes

Quem sou eu, minha identidade, está nas coisas quepenso, que sinto, que faço. Emc a d a realização no p r e s e n t e contesto, avanço, recuo, meacho ou me perco. Construo umamemória para r e f l e t i r sobre minha própria passagem por esse tempo. De um ponto inicial, crio ummovimento, mostro adiante uma imagem que é permeável, mutável, c o m u n i c a d o r a . Tudo vai terminar em um outro ponto queé fim, mas é também o começo de outra coisa.

Lígia Adriane Camargos Gomes

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Cat:328.08 IDENTIFICATION IN P R O C E S SAna Paula de Miranda Barcellos

Identity, culture, emotion...Elements and feelings hidden inbetween fears and anxieties.Translating, by means of fig-ures, symbols and icons, theimmensity of a life.

My Life.I used red as a dramatic expression of surviving.Fabric, purple water, drippingfluidity, the ephemeral.Images of the past that markmemory, education, growth.Photographs from the past, thepresent, the future.The stages of construction.Surgical gloves that mould a caring, emotional, artistic personality. Objects where“traces” of remembrances offriends, of the search for m a t u r i t y , s e x u a l i t y , i n d e p e n d e n c e ,responsibility and a sense of balance. The search, in composition and in 3D, for something secure, stable, similar to a set of scales, toa sign. Spiral movement, thedescent, and ascent, of slopes.To capture real images, exercising upon them creative“tones”. The diverse finali-ties and paths that have beenutilised. Stages that i n f l u e n c e construction of the i n d i v i d u a l ,

of identity.

IDENTIFICAÇÃO EM P R O C E S S O

x Mixed Media Installation (Studio) p Mixed Media Installation(detail) l Mixed Media Installation processed through 3D image mappingsoftware v Virtual Computer Site Specific Realisation. (Ouro Preto)

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IDENTIFICAÇÃO EM PROCESSOAna Paula de Miranda Barcellos

Identidade, cultura, emoção… Elementos e sensações escondidas por entre medos e angústias. Traduzindo através de figuras, símbolos e ícones a imensidão de uma vida.A minha vida.O vermelho usado como expressão dramática do sobreviver. Tecido, água rubra, a fluidez que escorre, o efêmero.Imagens do passadoque marcam a memória, a educação, o crescer. Fotografias passadas, presentes, futuras. As etapas plásticas.Luvas cirúrgicas que moldam uma personalidade cuidadosa, sentimental, artística.Objetos onde são resgatados “traços” de lembranças de amigos, da busca pela maturidade, sexualidade, independência, responsabilidade e senso de equilíbrio.Aprocura na composiçào e tridimensão por algo seguro, estável, similar a uma balança,ao signo. O movimento espiral, o descer e subir ladeiras.Captar imagens reais exercendo sobre as mesmas os “tons” criativos. As diversas finalidades e caminhosutilizados. Etapas que influenciam na construção do indivíduo, da i d e n t i d a d e .

Ana Paula de Miranda Barcellos

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Cat:338.20T R A J E C T O R YCinthia Marcelle

This work is about the course of life insearch of consciousness of itself. From thebeginning to the end. Like the history of ahuman being. From birth until d e a t h .

I started with a sequence of photos which were arranged on the grass. “Aman was looking at these images while a pieceof thread was tracing his h i s t o r y ” . All these images were inserted in a globe,and were taken to another, virtual, placet h a t occupies another dimension of reality. Theunknowable perhaps.

A long journey to be travelled. The continu-ity of this trajectory, which ends in areturn to the place of origin.

T R A J E T O

l Self Portrait - computer generated image (Meta Creations Painter3D) n Site Specific Installation Detail (Computer printouts, concrete,cotton) p Virtual Computer Site Specific Realisation v Virtual Site Specific Installation (detail) processed through 3Dimage mapping software.

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T R A J E T OCinthia Marcelle

É um trabalho sobre o percurso da vidaem busca da consciência de si próprio.Do início até o fim. Como a história deum homem. Do n a s c i m e n t o

até a morte.Comecei com uma sequëncia de fotos queforam colocadas sobre a grama. “Umhomem observava estas imagens enquantoum fio de linha traçava sua história”.Todas estas imagens foram inseridas emum globo e foram levadas para um outroespaço virtual que ocupava outra dimen-são da realidade. Talvez, o i m p r e v i s í v e l . Um longo caminho a ser percorrido. Acontinuidade deste trajeto que se fechaem um retorno ao local de o r i g e m .

Cinthia Marcelle

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Cat:352.09O R I G I N SCarla Linhares

The identity search, for me, ispart of the search for my originswhich I believe are part of a spe-cial link for most of the peoplearound me. Social and culturalorigins, which determine commonhabits, thinking, and b e h a v i o u r .In my work, people were photographed into a niche. Inorder to fit in, they sometimesinjured themselves. I registeredthose images and criated a ‘polit-omico’ field where the lines fromdifferent parts of one body meetothers, but it does not occur withthe mass of those b o d i e s .Afterwards I projected on those bodies the images from others, inother that one light image mayreach the other. I finally made avirtual ‘bill board’ with themanipulated and

distorted image.

O R I G E N S

l Self Portrait - computer generated image (Meta Creations Painter3D) p Work in Progress - (preparation for digital acetate printseries) n Projected digital image 4 (acetate) v Computer generatedimage manipulation x Virtual Computer Site Specific Realisation (Belo Horizonte)

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O R I G E N SCarla Linhares

A busca de identidade, para mim, faz parte da busca das minhas origens, as quais acred-ito fazerem parte de algo peculiar à maioria das pessoas que me circundam. Origens soci-ais e culturais, que determinam hábitos, pensamentos e comportamentos em comum.Nos meus trabalhos, as pessoas foram fotografadas inseridas em nichos. Para se encaixarneles, elas chegavam a se ferir. Fragmentei essas imagens, criando um campo politômi-co onde as linhas de diferentes partes de um corpo se encontram, sem que isto aconteçacom a massa desse corpo. Depois projetei sobre estes corpos a imagem de um outro tam-bém inserido, de forma que sua luz atinge o outro. Fiz da d i s t o r ç ã o

dessa imagem a luminosidade do outdoor.

Carla Linhares

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Cat:361.17Fire Poetry and SceneryCristiano Gurgel Bickel

The work which I developed suggests a discussion about the dissolution of the imageand of its relationship with the world inwhich it is a part.The element of fire, the p o e t r y , and the urban scenery overlap each other. Thefire travels between the image of the urbanscenario and the personal graphics e n g r a v e d on the steel plate, manifesting a personalmark in this space. It registers my own existence in the world, where I perceive,

feel and belong.

l Work in Progress - steel engraving - studio 1 (Digital record) pWork in Progress Fire 3 (series of digital images) x Mixed mediainstallation (engraved lead, fire) v Virtual Computer Site SpecificRealisation (Belo Horizonte) n Mixed media installation processedthrough image mapping software.

FOGO, POESIA E CENÁRIO

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FOGO, POESIA E CENÁRIOCristiano Gurgel Bickel

O trabalho desenvolvido propõeuma discussão acerca da dissolução da imagem ede sua relação com o mundo ondese insere.O elemento fogo, a poesia e ocenário urbano se superpõem. O fogo transita entrea imagem do cenário urbano e agrafia pessoal gravada na chapade aço, manifestando nesteespaço a marca pessoal. Registra a minhaprópria existência no mundo ondepercebo, sinto e registro através de formasv i s u a i s .

Cristiano Gurgel Bickel

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