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)
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da vida, com o reino dos símbolos, da linguagem,
através da transparência, que, na série dos
Objetos
gráficos
, é justamente o que confere a ele a profun-
didade que citamos. Maria Eduarda Marques, em
estudo sobre a obra de Schendel, diz:
Mas a própria Mira elabora melhor o caminho que
a fez chegar no acrílico e a potência do acrílico
enquanto transparência para seu trabalho. Embora
longo, presumimos ser imprescindível lançar mão
deste trecho integralmente. No decorrer de suas
palavras, retiradas de uma anotação sem data,
sem título, incluída por Sônia Salzstein em volume
que organizou sobre a obra de Schendel, podemos
observar muitas das coisas que viemos discutindo
elaboradas pela própria artista - rica contribuição
sobre o papel da letra, da transparência e da pro-
fundidade em sua obra.
O que me preocupa é captar a passagem da vivência
imediata, com toda a sua força empírica, para o símbo-
lo, com toda a sua memorabilidade e relativa eterni-
dade. [...] Reformulando, é esta minha obra a tentativa
de imortalizar o fugaz e dar sentido ao efêmero. Para
poder fazê-lo é óbvio que devo fixar o próprio instante,
no qual a vivência se derrama para o símbolo, no caso,
para a letra.
No começo, pensava que para tanto bastava [...] sen-
tar-me a esperar que a letra se forme. Que assuma sua
forma no papel e que se ligue a outras numa
escrita pré-literal e pré-discursiva. Mas sentia,
desde o início, que isto poderia ter êxito ape-
nas se o papel fosse transparente. Agora sei
melhor avaliar porque tinha então aquela im-
pressão: a letra, ao formular-se, deve mostrar
o máximo de suas faces, para ser ela mesma.
Surgiu, no entanto, um segundo problema. A
sequência de letras no papel imita o tempo, sem pod-
er realmente representá-lo. São simulações do tempo
vivido, e não captam a vivência do irrecuperável, que
caracteriza esse tempo. Os textos que desenhei no papel
podem ser lidos e relidos, coisa que o tempo não pode.
Fixam, sem imortalizar, a fluidez do tempo. Por isso,
abandonei esta tentativa.
Abandonei, porque descobri o acrílico, que parece
oferecer as seguintes virtualidades: a. torna visível a outra
face do plano, e nega, portanto, que o plano é plano; b.
torna legível o inverso do texto, transformando portanto o
texto em anti-texto; c. torna possível uma leitura circular, na
qual o texto é centro imóvel e o leitor é móvel. Destarte, o
tempo fica transferido da obra para o consumidor, portan-
to o tempo se lança do símbolo de volta para a vida; d.
a transparência que caracteriza o acrílico é aquela falsa
transparência do sentido explicado. Não é a transparên-
cia clara e chata do vidro, mas a transparência misteriosa
da explicação, de problemas. [SCHENDEL, 1996, p. 256]
Na densidade do desenho e das inscrições, a transparência alcançada
na montagem do papel sobre o acrílico é fundamental. [...] o papel é
prensado por entre duas placas de acrílico, suspensas por fios de náilon,
tornando visível a outra face do plano. A hierarquia do olhar é quebrada,
conduzindo a uma leitura circular e virtual. Mira explora a possibilidade
de acabar com a frente e o verso. Interessava a ela alcançar a simultanei-
dade do tempo e do espaço. [MARQUES, 2011, p. 27]
Revista Poiésis, Niterói, v. 23, n. 39, p. 155-169, jan./jun. 2022. [DOI: https://doi.org/10.22409/poiesis.v23i39.49097]