Journal of the Art Education area linked to the Postgraduate Program in Visual Arts, at the Arts, Design and Fashion Center of the Santa Catarina State University. ISSN: 2447-1267 Frequency: Continuous publication model Year of criation: 2015
Universidade do Estado de Santa Catarina
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Opening the eyes: Children’s Drawing through the collection of alternative materials
This essay discusses a case study carried out in the course Artes Visuais e Grafismo Infantil (Visual Arts and Children’s Drawing), offered in the second semester of the Licenciatura em Artes Visuais (Visual Arts License Degree) at the Universidade do Estado de Santa Catarina (UDESC). Through a set of drawing propositions developed with a ten-year-old child, the text examines how different pedagogical approaches shape children’s graphic production, revealing shifts from the usual drawing schemas toward a more attentive process of observation and experimentation. The discussion is informed by two key concepts, collecting and pedagogical scene, understood as organizational practices that mediate the perception and aesthetic experience of materials, in dialogue with Cunha (2021), Silva (2017; 2022), Lima and Lampert (2023), and Albers (2006).
Copyright (c) 2026 Maria Fernanda Elias , Tharciana Goulart da Silva https://creativecommons.org/licenses/by-nc/4.0
Doing-feeling-thinking with threads and weaves: a proposal for educational research in art
The overall objective of this educational research in art is to create pedagogical spaces for encounter, experimentation, thought, and invention with artistic languages, particularly contemporary and traditional textiles. Since 2013, the Weaving Workshop located in the Bachelor’s Degree in Culture and Art at the University of Guanajuato, the institution where we work, has been characterized as a place that fosters experiences for doing, feeling, and thinking using threads and weaves. In this text, we seek to present some work processes and the methodological possibilities and reflective paths that we have observed/found in the teaching and artistic practice carried out with students who have taken the workshop. We investigate how working with artistic production processes, which involves the development of knowledge, skills, and competencies in art, has been reinterpreted by young university students in their personal and collective textile production projects.
Copyright (c) 2026 Vanessa Freitag, Miguel Ángel Arce Ortega https://creativecommons.org/licenses/by-nc/4.0
ART REVEALED IN MATURITY: An interview with the artist José Carlos da Rocha
The interview presents reflections by the artist and researcher José Carlos da Rocha, PhD in Visual Arts from the State University of Santa Catarina, on how art, revealed in maturity, fosters processes of academic and scientific development. The dialogue traces his trajectory from economics to painting, highlighting the significance of his artistic production, research, teaching experience, and contributions to the fields of contemporary art and visual arts education.
Copyright (c) 2025 Giovana Zarpellon Mazo, Lucas André Marconato https://creativecommons.org/licenses/by-nc/4.0
The article investigates the artist’s studio as an expanded and fluid device that transcends the physical space and manifests itself in the artist’s displacements, attention, and presence in their surroundings. The city, on the other hand, acts not only as a background but as an active agent in their professional training and creative process. Conversely, in counterpoint to the urban rhythm, the studios are configured as spaces for the suspension of time, in which poetic experience matters more than the material result of the work. The authors reflect on the challenges of producing art in contexts of relatively scarce economy, articulating their academic trajectories and personal affinities. The text, written in the third person, seeks the horizontality and fluidity of the narrative, proposing a critical review of the myth of the isolated artist in their atelier. By understanding this space as a territory for experimentation and an extension of everyday life, the article highlights the permeability between the city, the body, and creation, where every lived experience becomes the visual and sensible material of the artistic practice.
Copyright (c) 2025 Taís Cabral Monteiro, Danielle Noronha https://creativecommons.org/licenses/by-nc/4.0
Traces of a backyard/studio: Encounters with the lines of the drawing
This article presents some traces left by cartographic drifts arising from encounters that took place in a backyard, which is understood as a studio space for both the artist and the teacher, one of the authors of this text. The writing resonates with the sensations experienced in that place, in contact with the earth and nature, bringing contemporary artistic practices with drawing, which create lines of connection with teaching and also with art and life. By exploring the events that insinuate themselves in the backyard/studio and the perception of their unforeseen events, the aim is to uncover possible developments for teaching with drawing, and not just about drawing. In this sense, teaching with drawing is understood as difference, with authors such as Gilles Deleuze and Félix Guattari, as well as Ana Godoy and Tim Ingold, respectively, with the meanings of drift and inhabitation. Through displacements as a field of experimentation, it enhances possible paths in which the creative processes involved in the poetic process of drawing also become a device for and in its teaching.
Copyright (c) 2025 Taliane Graff Tomita, Elaine Schmidlin https://creativecommons.org/licenses/by-nc/4.0
The studio as a territory of listening and chromatic thinking: Theoretical and practical reflections on color and the studio as a site of symbolic reinscription
This article reflects on the ongoing artistic process developed within the research project Kairos Babel, part of the PhD in Painting at the Faculty of Fine Arts, University of Lisbon. Centered on pictorial practice, the study approaches the studio as a territory of listening and chromatic thought, where gesture, color, and material intertwine as modes of knowledge. Based on the empirical observation of the workspace-considered both a physical site and a conceptual device-the research examines how the chromatic, material, and symbolic conditions of the studio influence image construction and perceptual experience. Drawing on theoretical references such as Josef Albers, Norman Bryson, Barbara Bolt, and Maurice Merleau-Ponty, the reflection proposes the studio as a performative field of learning, where knowledge emerges through action, experimentation, and error. The text further analyzes the use of pink as a chromatic and symbolic axis, relating it to the concepts of poiesis, “non-place,” and symbolic reinscription. It argues that pictorial practice, by interweaving experience, memory, matter, and color, constitutes a form of situated visual thinking and a process of identity reinscription.
Copyright (c) 2026 Vera Fonseca https://creativecommons.org/licenses/by-nc/4.0
Seeing art from the studio: the inseparability of artistic process, place of creation, and meaning
This article seeks to deepen research into artistic processes from a perspective that focuses on the creative space—studios—in its multiple meanings, in order to reach layers of meaning that can be recognized in the finished works in an exhibition environment. To this end, a case study was conducted on the process of Rodrigo Dulcio, an artist of the 2000 generation, sculptor, and designer residing in Curitiba, Paraná, Brazil. The methodological approach for this study was provided by the movements of approximation and distancing from the studio space and the creative process. This approach allowed for immersion in the creative process and a panoramic view of it in relation to the local artistic field. To this end, a theoretical framework was adopted that sought to understand the experience of the creative space based on John Dewey and the creative process as the habitus of a field, based on Pierre Bourdieu. In this way, it was possible to verify how much the place of creation is intertwined with the creative process and how much this intertwining clarifies the relationships between the poetics of artists of the same generation and those of local predecessors and art history.
Copyright (c) 2026 Lilian Hollanda Gassen https://creativecommons.org/licenses/by-nc/4.0
Creative Processes and Artistic Reflection in the Studio: Pintura e Afins Group
This research aims to examine the principles and functioning of the extension group Pintura e Afins, which operates as a space for study, practice, and reflection on contemporary painting. Affiliated with the State University of Paraná, Curitiba I/EMBAP Campus, the group upholds the notion that the collective studio constitutes a site for the production and circulation of artworks either in process or completed as well as a forum for theoretical discussion and reflection that contributes to individual artistic practice. Throughout the text, selected works and testimonials from some of its members are presented, highlighting how this experience strengthens artistic practice and opens pathways for new inquiries. Theoretical studies of Barry Schwabsky and David Salle, combined with conversations surrounding the creative process, consolidate both individual and collective practices, while establishing broader exchanges with contemporary artistic production.
Copyright (c) 2025 Maria de Fátima Junqueira Pereira, Gustavo Henrique da Silva Weber, Bianca Stella https://creativecommons.org/licenses/by-nc/4.0
Studio and experience of color: Artistic processes with natural pigments
This research investigates artistic processes and materials, exploring techniques for extracting natural dyes and pigments for original productions in painting and installation, presented at the end of the article. The collection of plant and mineral sources dialogues with the artist’s experience in the territory, highlighting his movements and journeys through diverse sources, from the color of the earth, visible in the landscapes, through gardens, vegetable gardens, parks, and markets, to large-scale mining operations. The city—or each place where one lives, whether for a brief period or a lifetime—becomes a studio, a color laboratory, a starting point for the pictorial experience. In chromatic transformations, it is also possible to revisit cultural, historical, and political dimensions, which reveal how the production of paints accompanies social and technological changes over time. In this sense, the use of natural raw materials opens space for the construction of more personal palettes, open to creative deviations, which strengthen autonomy in relation to imported inputs and expand the possibilities for study in contemporary art.
Copyright (c) 2025 Tais Cabral Monteiro, Bianca Stella https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2025 João Paulo Queiroz, Ronaldo Oliveira, Jociele Lampert, Fábio Wosniak https://creativecommons.org/licenses/by-nc/4.0
Contemporary paths: interviews with the visual artists Fabio Miguez and Manuel Caeiro
This article presents an excerpt from the doctoral research “Percursos Poéticos” (ECA/USP, 2017), featuring interviews with contemporary artists Fabio Miguez (São Paulo, 1962) and Manuel Caeiro (Évora, 1975). Conducted between 2014 and 2016 in São Paulo and Lisbon, the conversations address procedures, materials, and reflections on painting and the urban landscape. The project was supported by CAPES and the University of São Paulo’s Pro-Rectory of Culture and Extension. Rather than a comparative study, it highlights shared concerns regarding the city and artistic practice. The selection of these artists stems from the researcher’s own experience and affinities with their inquiries. The city, its landscapes, and the intellectual and material processes of artistic production are shared elements, with São Paulo, Lisbon, and other cities emerging as spaces of creation and experimentation.
Copyright (c) 2025 Tais Cabral Monteiro https://creativecommons.org/licenses/by-nc/4.0
A Book, and then Others: Notes from a Publishing Artist
Starting from different conceptions of what constitutes a book, this article explores how the boundaries of these definitions can be destabilised through artistic practices. It discusses the practical and conceptual implications of the publications Entre uma coisa e outra (2024), Preposição (2024), and Problems (2025), which possess ISBNs and are cataloguable as books. Adopting a practice-based theoretical approach, it articulates reflections on issues of place and reading, acknowledging the fluidity of the book concept when created by a publishing artist. It highlights the differences between an artist who publishes and a publishing artist, emphasising the need for mastery over the means and processes involved in editorial production. The article concludes that the works presented expand the panorama of the published object and that publication, as an artistic practice, opens new interpretative possibilities regarding what a book can be.
Copyright (c) 2025 Fernanda Fedrizzi Loureiro de Lima https://creativecommons.org/licenses/by-nc/4.0
Collaborative play as a pedagogical device in the education of artists
The goal of this article is to investigate the contributions of traditional Brazilian games and plays in the education of the artist, introduced in such a way as to challenge consolidated assumptions in the training of artists in the Brazilian university scene. With the undergraduate course in Arts at the Institute of Art and Social Communication (IACS) at UFF, Niterói, as a locus for experimental work, these pedagogical practices have been applied through the course Proposals with Human and Environmental Interactions, offered to newcomers to the undergraduate course. By introducing plays and games as collective practices, the objective is to challenge the notion that the artist needs to keep themselves isolated in the world, closed off in their own universe, as an indispensable condition for the creative process. With the collaborative practices of traditional plays and games (shuttlecock, hopscotch, cat bed, peg-leg, among others) the aim is, through playfulness and participation, to intervene in the artist’s training processes, stimulating actions and situations that are guided by the notions of exchanging and sharing.
Copyright (c) 2025 Luiz Sérgio de Oliveira, Giovanna Alves de Carvalho https://creativecommons.org/licenses/by-nc/4.0
Aesthetics as a formative dimension: an analysis of publications on the training of visual arts teachers in the south of Brazil (2014–2024)
This article presents the results of an analysis of theses, dissertations and articles that address aesthetic education in the training of Visual Arts teachers in the South of Brazil, between 2014 and 2024. Through a qualitative analysis, the 12 publications found were organized into three thematic units: aesthetic experience and mediation in Visual Arts education; aesthetics as a critical practice; and aesthetics and curriculum in Visual Arts education. The study demonstrates that aesthetics, when understood as a sensitive and creative practice, constitutes a formative dimension, surpassing a technical or disciplinary approach. The main theoretical frameworks supporting the analyses are Vygotsky, Freire, and Zanella, who provide a foundation for understanding aesthetic education as a humanizing, poetic, and political dimension. The analysis reveals convergences and divergences in the investigative paths of the research reviewed, as well as possible articulations between subjectivity, educational policies, and artistic practices in Visual Arts teaching.
Copyright (c) 2025 Alisson Douglas Da Silva, Jaison Hinkel https://creativecommons.org/licenses/by-nc/4.0
Between lines and sensations: drawing the city from the senses
This article investigates how urban perception can be enriched by sketches made on site, expanding the sensory experience beyond vision and including senses such as smell, touch and hearing. It explores how the human body perceives the urban environment and how affections influence the drawing process. The objective is to analyze how these sensory stimuli impact the creation of sketches by Architecture and Urban Planning students with the following question: How does sensory perception influence designers’ sketches of the city? The research adopts a qualitative methodology, collecting testimonies and sketches from students in observation and drawing activities on site and makes a psychogeographic analysis of the data. The theoretical foundation is based on authors such as Spinoza, who discusses the influence of affections on bodies, Baudelaire, with his concept of flâneur as urban observer, and Juhani Pallasmaa, who emphasizes the importance of the senses in architectural perception, to understand the interactions between body, city and the practice of location drawing.
Copyright (c) 2025 Marcio Lima, Claudia de Medeiros Lima, Cássia Bomfim Moura https://creativecommons.org/licenses/by-nc/4.0
Poetry in handcrafting with elements of nature in teacher training for early Childhood Education
This experience report is part of a pedagogical proposal for the course “Cultural Activities III - Children and Nature: Pedagogical Experiments,” offered in the Pedagogy program at Fluminense Federal University (UFF) in Niterói. We seek to reflect on the elements of nature that are part of the immediate world and their pedagogical potential as replacements for materials used in early childhood education, such as ethylene vinyl acetate (E.V.A), glitter, plastics, A4 paper, and the environmental impacts of their disposal. Invited to walk around the university campus, we collected twigs, coconuts, pods, leaves, flowers, seeds, and insect shells, among other things, which would be part of an artistic composition using clay. This exercise broadened our familiar perspectives, making them curious, cultivating new ways of seeing, feeling, and interacting with/in the world, sparking imagination and creativity. Immersed in the collection, we questioned how we experience nature in the daily routine of Early Childhood Education and the prevalence of activities focused on commemorative dates. We cultivated the poetry of handmade work and sensory experiences in teacher training, highlighting the appreciation of an aesthetic of ordinariness (Barros, 2010), made of fragments, small pieces of the world, unimportant people, and disobjects, revisited and reinvented. Through aesthetic awareness of the elements of nature and clay, pedagogical practices aligned with legal documents and environmentally sustainable are defended, reinforcing the relevance of offering teachers in training different pedagogical and artistic experiences that expand their repertoire and knowledge of the world.
Copyright (c) 2025 Ana Grazyele , Cristiana Callai https://creativecommons.org/licenses/by-nc/4.0
Image, gender and sexuality in the Visual Arts curriculum: fears, excesses and conformed looks
The text reflects on the conceptions of Visual Arts teachers working in public schools in the municipality of Pelotas/RS, in relation to curricular practices using images and the links established with the themes of gender and sexuality. From a cross-section, we present data obtained from bibliographical reviews, the sending of images and semi-structured interviews. It emerged that Visual Arts teachers’ understanding of practices with images can reinforce and maintain prejudices and stereotypes in the school curriculum, but can also contribute to the process of deconstructing thoughts that standardize conduct and seek to fix identities. This is due to the teachers’ level of criticality, which includes their visual repertoire and the relationship established between images and the production of senses and meanings, considering their initial and continuing teacher training.
Copyright (c) 2025 Fabiana Lopes de Souza https://creativecommons.org/licenses/by-nc/4.0
The torn page: revisiting John Dewey’s pragmatic experience
This article aims to revisit ideas from the philosopher John Dewey and suggest ways to reflect on the concept of experience for the Teaching of Visual Arts. The first section presents the influences of Dewey’s thought, recovering some approaches to experience and aesthetics in the history of philosophy to contextualize and highlight Dewey. The second section addresses mutual resonances of reflective thought and aesthetic experience. The third section disseminates the reflection of the report of a postgraduate class in visual arts, which had as its proposal to tear pages from a book and read them randomly. This proposition is described and substantiated as an aesthetic experience that enables interest, association and continuity in a teaching and learning process, or art as experience.
Copyright (c) 2025 Hélida Costa Coelho, Pedro Henrique Villi Cavallari, Jociele Lampert https://creativecommons.org/licenses/by-nc/4.0
The Continuity and the Aesthetic Component of Experience in the Teaching Practice
This article aims to present and discuss some specific aspects of Dewey’s concept of aesthetic experience, highlighting it as an element present in any experience and, based on this specific aspect, drawing a parallel between the continuity and presence of this aesthetic element and teaching practice. This is a bibliographical research in which the primary source is the book Art as Experience by John Dewey. In order to achieve our objectives, we divided the text into two sections. In the first section, we present Dewey’s concept of experience and, in the second section, we proposed to establish a relationship between the characteristics of the experience (continuity, emotion, aesthetic element and consummation) and teaching practice. We concluded that the active role between spectator and artist is repeated in the relationship between teacher and student, since both the teacher and the student play an active role in the presentation, creation and recreation of the content in the class and this creation and recreation are from the classroom experience.
Copyright (c) 2025 Maria Aparecida Lima Piai https://creativecommons.org/licenses/by-nc/4.0
Aesthetic experience in comics: image, visual culture and experience
Establishing a dialogue between comic books and the academic space of visual arts implies exploring aspects of contemporary visual culture, its context, and the artistic and aesthetic interpretations of the object. Thus, this article analyzes comic books as a means capable of providing aesthetic experiences and expanding their poetic, narrative, and symbolic potentialities as an alternative to understanding current artistic productions. Therefore, bibliographical research was carried out on the concept of experience by John Dewey, establishing interpolations with the image and visual culture, seeking to understand the possible spaces of dialogue between comic books and visual arts, and teaching.
Copyright (c) 2025 João Francisco Maués Araujo, Anelise Zimmermann https://creativecommons.org/licenses/by-nc/4.0
The concept of experience in John Dewey’s philosophy: Aesthetic, ethical, logical and pedagogical implications
This paper analyzes how the concept of experience permeates John Dewey’s philosophy, influencing studies on aesthetics, ethics, logic, politics and education, among other human sciences. In addition to this general intent, specific objectives are presented, such as describing the function and relevance of symbols for pragmatic philosophy and the educational context; reflecting on the aesthetic nature of experience and reasoned thought, in the face of the problems of existence; analyzing the nullification of the student’s desire for learning, due to traditional pedagogical knowledge that perpetuate the separation between theory and practice, among other procedures that do not consider experience; reflecting on evaluation, in the light of Deweyan pedagogical assumptions. As theoretical contributions, in addition to the author’s well-known works, such as Como pensamos (Dewey, 1959a), Democracia e Educação (1959b), Reconstrução em Filosofia (1959c), Logic: The Theory of Inquiry (1980), and Arte como experiência (2010), writings by Barbosa (2015), Cunha (1999), Shook (2002), Gauthier & Tardif (2010), among others, contribute to the reflective path. The methodological perspective is inspired by the concepts of Rorty’s redescription (1995). The reflection undertaken on the nature of experience, as enunciated by Dewey can shed light on the old scourge of students’ disinterest in educational routines.
Copyright (c) 2025 Marlon Dantas Trevisan, Marcos Henrique, Simone de Cássia Soares da Silva https://creativecommons.org/licenses/by-nc/4.0
John Dewey’s perspective on experience, technology and learning: a contemporary study
This article analyzes the thinking of the American philosopher John Dewey and how his ideas can still influence contemporary education, which is largely permeated by technological artifacts. We suggest interpreting Dewey’s theory of inquiry from a technological perspective. To this end, we adopt a broader view of technology, seen not only as a set of devices, but as any tool, physical or theoretical, built to solve problems. In this sense, we emphasize that meaningful learning will only occur when inserted in contexts of construction and use of these technological artifacts, both physical and theoretical. This is what we call the “technological cycle of learning”. We also argue that this process necessarily involves the search for problem-solving in a context of problematization, investigation and collaboration.
Copyright (c) 2025 Fernando Mariano Placides, José Wilson da Costa https://creativecommons.org/licenses/by-nc/4.0
[im]Possible Experiences: a look at experience, art and education
The article investigates experience as an essential element in the construction of human knowledge, highlighting its relevance to art and education. Based on authors such as John Dewey (1979), Jorge Larrosa (2002; 2015), and Italo Calvino (1994), the text discusses how experience goes beyond technical and academic knowledge, offering a subjective and transformative perspective on reality. The research explores the proposal “Experiência [Im]possível” (“[Im]possible Experience”), developed in an educational context, reflecting on the importance of pause, feeling, and perception in contemporary society. It argues that experience and art are forms of resistance against neoliberal productivism, enabling a more sensitive and democratic approach to education. The study concludes that valuing experiential knowledge is a political act that restores humanity in an accelerated and mechanized world.
Copyright (c) 2025 Rebeca Pereira San Martins, Maristani Polidori Zamperetti https://creativecommons.org/licenses/by-nc/4.0
The aesthetic experience with the didactic use of cinema in Philosophy classes: a perspective from John Dewey
This article explores the aesthetic experience provided by the use of cinema as a didactic resource in Philosophy classes, based on John Dewey’s ideas about art and education. Drawing on his main works, such as Art as Experience and Democracy and Education, we observe that Dewey calls our attention to the realization that the real meaning that an aesthetic attitude can provide concerns a disinterested attitude, an openness, a readiness not so much for the thing or event “in itself,” in its consistency, but for the effects it can produce, so that the idea of art has expanded and surpassed the limits of intelligibility. Thus, the contribution of Deweyan thought is directed towards the perspective of an enrichment of such experiences and, therefore, under a formative prism. Obviously, the challenge lies in developing fruitfully, at the core of high school education, as is the focus of our work, the provocations that may arise from different artistic expressions. The work of art has always served as an object of philosophical reflection, achieving an active position as a transforming agent in philosophical questions. This is confirmed when, in the current context, aspects such as consumerism, unbridled competition, difficulty in living with plurality and differences, separation between art and life, fragmentation and commodification of human relations, among others, express themselves as reflections of the dualisms that markedly affect human life. For this reason, the work Art as Experience has an extremely current reach to, through the bias of aesthetic experience and the postulate of unity between art and life, think about these and other issues that affect the life of contemporary man. In a special way, we can analyze how cinema in different productions has reproduced distinct ways of thinking about the philosophical problem that affects us in its great majority, the educational model and the school environment.
Copyright (c) 2025 Flavio Honorio da Silva, Leoni Maria Padilha Henning https://creativecommons.org/licenses/by-nc/4.0
The new dimension of the concept of experience in John Dewey: continuity between theory and practice
The goal of this paper is to approach John Dewey’s concept of experience and its epistemological implications when it comes to the relations between theory and practice. With a distinction from notions from the British empiricism and from the Kantian transcendental system, the text explores through which ways the notion of Dewey’s “naturalist empiricism”, in proposing a resizing of the notion of what constitutes experience, allows comprehending it as something more profound than the mere sensitive perception of reality but a means of properly penetrating reality and relating to it. Thus, our thesis is that there is a gain also in the conception of what knowledge is, how it’s formed and how it interferes in experience. For empirical sciences as much as for philosophy, knowledge in Dewey is related to the glimpse of new meaning relations in experience and new possibilities of comprehension and action – thus the deeper relation amongst theory and practice.
Copyright (c) 2025 Antonio Frederico Saturnino Braga, Mariana Oliveira dos Santos Tartaglia https://creativecommons.org/licenses/by-nc/4.0
From the History of Art to the Genealogical History of Art
Instead of a strictly linear and sequential History of Art (ordered by dating of movements, trends, artists or styles), we should conceive of certain genealogies of artists who, despite being active in very different or distant times, reveal similar or invariant characteristics, where these invariants trace a trend that is beyond a precise or restricted time; equivalent to saying, something to be developed, that classicism is understood in the understanding of the study of works such as those of Rafael, Poussin or Ingres, which leads us to the study of remarkable facts from the 16th century (Rafael) to the 19th century (Ingres). The same could be said of the “modern spirit”: taking Picasso, one hypothesis among others, but a credible hypothesis, taking Picasso, I said, as the central figure of the modern, at the beginning of the 20th century, we will be able to see how it is formed, or how modernity is formed after its “Blue Period”, a time immediately after the author’s training period. And this is after to the “Black Spain” (España Negra) movement of Gutiérrez Solana, Darío Regoyos, Zuloaga and Nonell. In the genealogical reading of History (of a non-sequential History of Art), the “Black Spain” movement, following Walter Benjamin’s idea of looking at History “against the grain” (working History from the present to the past), confirms the Goya’s modernity, and thus we will have established the genealogy of modernity: Goya (who, in turn, confirms the modernity of El Greco, to establish a root of the modern), “repeats himself” in “Black Spain” and this generates Picasso from the “Blue Period. Goya-“Black Spain”-Picasso are to modernity what Rafael-Poussin-Ingres-Salon Academism are to classicism, or “classical spirit”.
Copyright (c) 2025 Carlos Vidal https://creativecommons.org/licenses/by-nc/4.0
Experiments and investigations into the preparation of paint with vegetable pigments
This article is the result of a scientific initiation research linked to the project “The Painting Studio as a Laboratory for Teaching and Learning in Visual Arts,” coordinated by Prof. Dr. Jociele Lampert at the State University of Santa Catarina (UDESC). The experimental research explores the possible chromatic variations obtained in the process of producing paints from natural pigments, analyzing physical aspects and color durability. For this study, experiments were conducted using a single organic material: the avocado. Based on the work Art as Experience by John Dewey, the research sought new approaches to problem-solving, emphasizing the integration of theory and practice in the creative process. Additionally, as an extension activity of the Apotheke Painting Studio study group, a workshop was conducted to introduce natural paint-making techniques, offering Visual Arts students at UDESC an alternative methodological approach to creation and artistic practice.
Copyright (c) 2025 Karine Abbati Nunes, Fabrício Rodrigues Garcia, Jociele Lampert https://creativecommons.org/licenses/by-nc/4.0
Modes of Existence that Affirm Life: Weaving Art, Education, and Philosophy
In this article, we investigate the intersection between art, education, and philosophy, highlighting the importance of dreams and the cosmoperception of Brazilian Indigenous peoples in constructing ways of existence that affirm life. Using a/r/tography as a methodology, which integrates art, research, and teaching, we reflect on creative and educational processes as vital practices. Drawing on the contributions of Nietzsche (1994) and Foucault (2004) regarding life as a work of art, alongside the perspectives of Ailton Krenak (2020) and the Yanomami peoples on dreams, we propose education as a space for the creation of meaning and resistance. The analysis of workshops conducted at the Espacio de Arte Contemporáneo, in collaboration with the Casa de los Sueños in Montevideo, reveals how these practices promote both individual and collective transformation.
Copyright (c) 2025 Benjamin Marins Costa, Lutiere Dalla Valle https://creativecommons.org/licenses/by-nc/4.0
Shaping Forms in Formation: An Experiential and Inventive Approach to Visual Arts
This article presents an experiential and inventive approach to visual arts, exploring learning processes and meaning-making through aesthetic experience. As a reference, it examines the short film NoirBlue – Displacements of a Dance (2018) by Ana Pi, investigating its creative process, in which the artist invents her own modes of expression. Grounded in lived experience, the article outlines four key stances in visual arts education: being present, resonating experiences, creating openings, and transcending epistemologically. Additionally, it introduces the poetic-pedagogical project Affections of Memory in Peasant Visualities, developed by students in a Rural Education program, highlighting how this approach can bridge art and life by integrating artistic productions, subjects of experience, and their spaces of living.
Copyright (c) 2025 Hertha Tatiely Silva https://creativecommons.org/licenses/by-nc/4.0
Cinema and Special Education: Debates on gender and inclusion through the Percy Jackson series
The present text corresponds to the experiences carried out with students from the Special Education program through a Visual Arts course. The discussion is based on the Educational Perspective of Visual Culture (Hernández, 2000), with the aim of fostering discussions through artistic proposals triggered by images from cinema. Through this approach, dialogues were initiated around gender and inclusion issues (Louro, 2013) among pre-service teachers in the Special Education program. The results highlight the importance of bringing works like Percy Jackson into the classroom, especially in the context of inclusive education, as educators can thus stimulate discussions about diversity, showing that individual differences can, in fact, be one’s greatest strengths. In this way, cinema becomes a bridge between fiction and reality, promoting reflection, belonging, and inclusion in the training of education professionals.
Copyright (c) 2025 Lucas de Bárbara Wendt, Adineia Araujo da Silva, Valeska Fortes de Oliveira https://creativecommons.org/licenses/by-nc/4.0