Em sendo patente...  n° 5 
(série Portugal) 
guardanapo rendando português antigo, insígnia militar, bordado feito à mão, apliques industriais, miçanças, miniatura de vaso de procelana chinesa

Once upon an insignia... # 5
(Portugal series)
laced portuguese handkerchief, military insignia, hand made embroidery, industrial patches, plastic beads, porcelain bead

2012
45 x 45 cm

[ english version ]

Trabalho decorrente da Residência Artística no Maus Hábitos, Porto, Portugal, em abril 2012, onde busquei incorporar, na atual pesquisa do meu trabalho, elementos típicos dos labores ditos femininos, ainda presentes na cultura lusitana, em particular os lenços de namorados, um elemento de conexão no passado entre Portugal e Brasil, embora conhecidos por poucos no Brasil. 

Os lenços de namorados são uma forte tradição da cultura popular portuguesa no norte do país, que teve origem pelo século XVIII. Eram lenços bordados pelas mulheres solteiras, que eram usados originalmente para declarar seu interesse por um determinado rapaz. Elas entregavam o lenço para o pretendente, que se o usasse em sua roupa no dia seguinte, indicava que ele correspondia ao sentimento da moça. Mais tarde, os lenços passaram também a ser presenteados ao namorado ou marido que partia para uma terra distante em busca de melhores condições de vida, na maioria das vezes para o Brasil.

Os lenços eram bordados com uma quadra de autoria da própria mulher, cercada de ilustrações que simbolizam a paixão, amor, fidelidade, etc., sempre em cores fortes. Este lenço passou a ser como uma carta (tema muito repetido nos lenços) que o seu namorado ou marido levava sempre consigo no bolso, para se lembrar da amada que ficou longe, em Portugal.

Na série Em sendo patente... insígnias militares reais foram incorporadas a “paninhos” (naperons) ou lenços e guardanapos antigos portugueses. Por cima destas insígnias foram bordados à mão pelo artista elementos típicos dos lenços de namorados. Algumas vezes as insígnias militares são completamente incorporadas ao desenho bordado, como no caso das asas dos passarinhos.

This series of works was conceived during the Artist-in-residence program at Maus Hábitos, Porto, Portugal, in April 2012, where I sought to incorporate, in the current research of my work, typical elements of the so-called feminine labors, still present in the Lusitanian culture, in particular the valentine's handkerchiefs, a connection between Portugal and Brazil in the past, although nowadays known by few in Brazil.

The valentine's handkerchiefs are a strong tradition of Portuguese popular culture in the north of the country, originated in the eighteenth century. They were handkerchiefs embroidered by single young women, who were originally used to declare their interest in a particular young man. They would hand the handkerchief over to the suitor, who would wear it on their clothes in the next day, indicating that he corresponded to the girl's feelings. Later, the handkerchiefs also began to be presented to a boyfriend or a husband who was leaving to a distant land in search of a better life, most of the time they left to Brazil.

The handkerchiefs were embroidered with a poetic quatrain created by the young woman herself, surrounded by illustrations that symbolize passion, love, fidelity, etc., always in strong colors. The handkerchief became almost a letter (the drawing of a letter is a theme repeated many times on the handkerchiefs) that her boyfriend or husband would always carry with him in his pocket, to remember the beloved one who stayed away in Portugal.

In the Once upon an insignia... series actual military insignia were incorporated into old Portuguese doilies or handkerchiefs and napkins. On top of these badges typical elements of the valentine's handkerchief were hand-embroidered by the artist. Sometimes the military insignia are completely incorporated into the embroidered design, as in the case of the wings of the birds.

My recent art production came from a reflection upon the toys that people give to their children, that, even if not intentionally, are used to define gender, sexual identity, personality, etc: dolls and domestic or sensitive activities for girls; balls, weapons, soldiers and more active and strength oriented games for boys.

Its artistic poetics lies precisely in the superposition and conflict between traditional elements of the feminine universe, in particular floral ornamental patterns, porcelain crockery, embroidery, among other so-called feminine activities, with stereotypes of masculinity such as the soldier, the powerful executive, the weightlifter, the cowboy, etc.