terça-feira, 10 de agosto de 2004
Artificial, metáfora do real
Para a discussão artificial/natural (Rui Tavares)
Para a discussão artificial/natural (Rui Tavares)
Francis Bacon: (...) For instance, in a painting I'm trying to do of a beach and a wave breaking on it, I feel that the only possibility of doing it will be to put the beach and the wave on a kind of structure which will show them so that you take them out of their position, as it were, and re-make the wave and a piece of the beach in a very artificial structure. In this painting, I have been trying to make the structure and then hope chance will throw down the beach and the wave for me. But I just hope that this painting, no matter how artificial it is, will be like a wave breaking on a seashore.
David Sylvester: You want to make it like?
Francis Bacon: I want to make it like but I don't know how to make it like.
David Sylvester: But you're sure that you can only make it like in a very oblique way?
Francis Bacon: Yes. That I'm sure of. Otherwise, I'd just do one more picture of a sea and a seashore.
David Sylvester: What will make it something that isn't just one more picture?
Francis Bacon: Only if I can take it far enough away from being another picture, if I can elevate, as it were, the shore and the wave - almost cut it out as a fragment and elevate it within the whole picture so that it looks so artificial and yet so much more real than if it were a painting of the sea breaking on the shore.
David Sylvester: You're wanting it to look both real and artificial?
Francis Bacon: Yes.
David Sylvester: You're looking for a certain unexpectedness? You're wanting to surprise yourself too?
Francis Bacon: Naturally. What else would you go on painting for?
David Sylvester: And what's the surprise? That the more artificial the thing gets, the more like it gets.
Francis Bacon: Yes. The more artificial you can make it, the grater chance you've got of its looking real.
David Sylvester in Interviews with Francis Bacon, Interview 6, March 1979, Alden Press, Oxford, 1985.
