≥
the deep
Gonçalo S. F.
YEAR: 2023
Lisboa
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Work commissioned by
MORAIS LEITÃO GALVÃO TELES,
SOARES DA SILVA & ASSOCIADOS
Collective of Two.
Gonçalo Santana Ferreira / Vasco Barbosa
Paulo Arraiano
As in Édouard Glissant's Poetics of Relation (1997), The Deep is essentially the poetics of the oceanic landscape.
Resulting from the collaborative process between Paulo Arraiano and CoTwo for the Morais Leitão collection, The Deep is the second moment that integrates a triptych of works that reactivate the Ocean as a space-time that brings together images, experiences and collective memories that necessarily open us to a new constellation of themes and aesthetics.
Faithful to the materialities to which he has accustomed us, between nature
and technology, poetry and artificial intelligence, prosthesis and vegetable matter, Paulo Arraiano returns in this collaboration to the "amphibian thought" that characterises his work, and introduces us to a hybrid and underwater territory, of alternation between the human and the non-human. This intertwining game is also identified in CoTwo's visual universe, where digital, nature, artificial intelligence tools and generative design intersect. Starting from the dialogue with the machine and the use of digital randomness, the collective presents a cultural and mythological oceanic universe, deeply marked by its own materiality and temporality, by verticality and rhythm.
In the convergence between the visual and narrative universes of Paulo Arraiano and CoTwo emerges, in The Deep, a deep body of water crossed by events, myths, intensities, winds and noises, even cosmic forces.
In the voice of Selma Uamusse, The Deep starts from the notion of the sea as history, which is brought to us by the Santa Lucia writer, Derek Walcott (1930-2017). In The Sea is History (1979), Walcott offers us a narrative of identity, readable only in the interstices of the encounter between history and landscape, and within the hybrid relations of transcorporality. If, for Walcott, the ghosts of history are pieces of body and bone that, mixed with aquatic fauna and flora, become coral, The Deep mobilises the manta ray as a “border organism” or a questioning entity to dive into a deep and unknown oceanic landscape.
Using as resources a digital visuality, sometimes verging on abstraction, and a narrative built on a data set that illustrates the depth and duration of these beings' dives, The Deep creates a poetic "haptic" map of the ocean, which points to a sense of place marked not only by the cartographic measurements of the migratory movements of the manta rays, but also by the tactile and sonic qualities of the sea.
On the fine line between the scientific and the fantastic, we navigate with an inter-species that allows us a "past-future- -vision" and that recovers the oceanic landscape, dark and deep, as a possible place of historical regeneration. Never the terrain of essentialism, oceanic nature emerges, in The Deep, as a habitat, albeit a utopian one, for future potentials and for a deep, blue ecology.
≥
THE DEEP
YEAR: 2023
Lisboa
As in Édouard Glissant's Poetics of Relation (1997), The Deep is essentially the poetics of the oceanic landscape.
Resulting from the collaborative process between Paulo Arraiano and CoTwo for the Morais Leitão collection, The Deep is the second moment that integrates a triptych of works that reactivate the Ocean as a space-time that brings together images, experiences and collective memories that necessarily open us to a new constellation of themes and aesthetics.
Faithful to the materialities to which he has accustomed us, between nature and technology, poetry and artificial intelligence, prosthesis and vegetable matter, Paulo Arraiano returns in this collaboration to the "amphibian thought" that characterises his work, and introduces us to a hybrid and underwater territory, of alternation between the human and the non-human. This intertwining game is also identified in CoTwo's visual universe, where digital, nature, artificial intelligence tools and generative design intersect. Starting from the dialogue with the machine and the use of digital randomness, the collective presents a cultural and mythological oceanic universe, deeply marked by its own materiality and temporality, by verticality and rhythm.
In the convergence between the visual and narrative universes of Paulo Arraiano and CoTwo emerges, in The Deep, a deep body of water crossed by events, myths, intensities, winds and noises, even cosmic forces.
In the voice of Selma Uamusse, The Deep starts from the notion of the sea as history, which is brought to us by the Santa Lucia writer, Derek Walcott (1930-2017). In The Sea is History (1979), Walcott offers us a narrative of identity, readable only in the interstices of the encounter between history and landscape, and within the hybrid relations of transcorporality. If, for Walcott, the ghosts of history are pieces of body and bone that, mixed with aquatic fauna and flora, become coral, The Deep mobilises the manta ray as a “border organism” or a questioning entity to dive into a deep and unknown oceanic landscape.
Using as resources a digital visuality, sometimes verging on abstraction, and a narrative built on a data set that illustrates the depth and duration of these beings' dives, The Deep creates a poetic "haptic" map of the ocean, which points to a sense of place marked not only by the cartographic measurements of the migratory movements of the manta rays, but also by the tactile and sonic qualities of the sea.
On the fine line between the scientific and the fantastic, we navigate with an inter-species that allows us a "past-future- -vision" and that recovers the oceanic landscape, dark and deep, as a possible place of historical regeneration. Never the terrain of essentialism, oceanic nature emerges, in The Deep, as a habitat, albeit a utopian one, for future potentials and for a deep, blue ecology.
</>
Work commissioned by
MORAIS LEITÃO GALVÃO TELES,
SOARES DA SILVA & ASSOCIADOS
Collective of Two.
Gonçalo Santana Ferreira / Vasco Barbosa
Paulo Arraiano
Gonçalo S. F.
≥
THE DEEP
YEAR: 2023
Lisboa
As in Édouard Glissant's Poetics of Relation (1997), The Deep is essentially the poetics of the oceanic landscape.
Resulting from the collaborative process between Paulo Arraiano and CoTwo for the Morais Leitão collection, The Deep is the second moment that integrates a triptych of works that reactivate the Ocean as a space-time that brings together images, experiences and collective memories that necessarily open us to a new constellation of themes and aesthetics.
Faithful to the materialities to which he has accustomed us, between nature and technology, poetry and artificial intelligence, prosthesis and vegetable matter, Paulo Arraiano returns in this collaboration to the "amphibian thought" that characterises his work, and introduces us to a hybrid and underwater territory, of alternation between the human and the non-human. This intertwining game is also identified in CoTwo's visual universe, where digital, nature, artificial intelligence tools and generative design intersect. Starting from the dialogue with the machine and the use of digital randomness, the collective presents a cultural and mythological oceanic universe, deeply marked by its own materiality and temporality, by verticality and rhythm.
In the convergence between the visual and narrative universes of Paulo Arraiano and CoTwo emerges, in The Deep, a deep body of water crossed by events, myths, intensities, winds and noises, even cosmic forces.
In the voice of Selma Uamusse, The Deep starts from the notion of the sea as history, which is brought to us by the Santa Lucia writer, Derek Walcott (1930-2017). In The Sea is History (1979), Walcott offers us a narrative of identity, readable only in the interstices of the encounter between history and landscape, and within the hybrid relations of transcorporality. If, for Walcott, the ghosts of history are pieces of body and bone that, mixed with aquatic fauna and flora, become coral, The Deep mobilises the manta ray as a “border organism” or a questioning entity to dive into a deep and unknown oceanic landscape.
Using as resources a digital visuality, sometimes verging on abstraction, and a narrative built on a data set that illustrates the depth and duration of these beings' dives, The Deep creates a poetic "haptic" map of the ocean, which points to a sense of place marked not only by the cartographic measurements of the migratory movements of the manta rays, but also by the tactile and sonic qualities of the sea.
On the fine line between the scientific and the fantastic, we navigate with an inter-species that allows us a "past-future- -vision" and that recovers the oceanic landscape, dark and deep, as a possible place of historical regeneration. Never the terrain of essentialism, oceanic nature emerges, in The Deep, as a habitat, albeit a utopian one, for future potentials and for a deep, blue ecology.
</>
Work commissioned by
MORAIS LEITÃO GALVÃO TELES,
SOARES DA SILVA & ASSOCIADOS
Collective of Two.
Gonçalo Santana Ferreira / Vasco Barbosa
Paulo Arraiano
