{"id":17094,"date":"2025-02-04T12:31:58","date_gmt":"2025-02-04T15:31:58","guid":{"rendered":"https:\/\/www.claudiarudge.com\/texto\/la-femme-qui-marche\/"},"modified":"2025-05-05T16:00:48","modified_gmt":"2025-05-05T19:00:48","slug":"la-femme-qui-marche","status":"publish","type":"texto","link":"https:\/\/www.claudiarudge.com\/en\/texto\/la-femme-qui-marche\/","title":{"rendered":"La femme qui marche"},"content":{"rendered":"\t\t
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femme qui marche
<\/em>work in progress since 2022
drawings and paintings
various dimensions<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u201cThis is a work in progress\u2026<\/em>
I share here the whirlwind that inspires me.\u201d<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cIn the morning I darken
in the day I delay
in the afternoon I grow dark
at night I burn.
To the west death
against whom I live
in captivity in the south
The east is my north.
Others who tell
step by step:
I die yesterday
I am born tomorrow
I walk where there is space:
\u2014 My time is when.\u201d
Vinicius de Moraes – Poetics
Rio de Janeiro, 1954<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cI quickly draw \u201cfigures\u201d, images that are in my mind. <\/em>
In fact, what I present here is a \u201ccollective\u201d body. <\/em>
If these figures seem strange to you, it is because we are accustomed to the still image. In<\/em>
movement, everything changes, movement and time <\/em>
\u2013 in their fractions of seconds \u2013 transform matter.<\/em>
But our eye does not see this. <\/em>
Our eye (mind) works like the cinema, it cuts out most of what is happening. What is<\/em>
recorded in the visual cortex and memorized is<\/em>
a sequence of fixed shots, of clich\u00e9s.<\/em>
I am drawing and painting the lost pieces.<\/em>
Art, like sensations, is synthetic and not analytical. <\/em>
I do not represent. I present my relationship with what I see. <\/em>
My paintings are the intersection of these two worlds. <\/em>
My subject is not what I see, but the relationship of everything that appears to me as an<\/em>
image. I seek an essence far beyond the image. <\/em>
Human beings are much more than the representation of their bodies.<\/em>
To show an experience \u2013 it is not the draw but drawing.<\/em>
(The world does not need images, but experience)<\/em>
Inspired by human representation in the Western tradition\u2026 and by my condition as a <\/em>
\u201cwoman who walks\u201d, I borrow the title of this series of paintings from Alberto Giacometti,<\/em>
Femme qui marche (1932).<\/em>
He said he was inspired by Apollo Belvedere,<\/em>
but its hieratic style brings it closer to archaic Greek art, the Kore.<\/em>
I can\u2019t help but think of contemporary models.<\/em>
Similar representations of women in different times.\u201d<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Left: Alberto Giacometti, Femme qui marche, 1932, bronze, 146.4 x 27.8 x 36.8 cm. Private collection
Center: Unknown artist, untitled, called Kore with Peplos, circa 530 BCE – sculpture in the round \/ Parian marble, height: 120 cm. Acropolis Museum, Athens
Right: photograph by Hans Feurer of model Madison Headrick, for Elle Paris magazine, June 9, 2022, p. 82.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u201cAmong so many\u2026 some references:<\/em>
Duchamp, \u2018Nu Descendant L’Escalier #2\u2019, 1912<\/em>
Fragmentation of color, light, time.<\/em>
Proust \u2013 similarity of impressions.<\/em>
Debussy<\/em>
Sartre – Existentialism<\/em><\/p>

Some time ago I understood that I don\u2019t have roots, but legs.<\/em>
I don\u2019t have \u2018a place in the world\u2019 as Carlos Castaneda used to say\u2026<\/em>
I\u2019m a walker,<\/em>
I don\u2019t belong anywhere and no place belongs to me.<\/em>
Walking is the right speed to understand.\u201d<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u201cTraveler from far away,
why come here
and follow this path
so painful? \u00bb\u201d<\/p>

\u201cEvery pilgrim ends up confronting his own foundations, the
shoes with which he walks through life. Although useful, shoes
are an artificial surface that isolates us from the living soil. […]
such an ambiguous relationship between the footwear and
the walker, between the foundation and the essence or
between the sole and the soil ..\u201d
Nilton Bonder<\/p>

\u201cThe Lord said to Moses: Go.\u201d
Exodus 8:1<\/p>

\u201cThe Lord said to him:
\u2018Take off your shoes from your feet,
for the place where you are standing is holy ground.\u2019<\/p>

Exodus 3:5
Acts 7:33<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\u201cSuccession of sensations<\/em>
Construction and deconstruction of the image.<\/em>
Scale is part of the content<\/em>
Exhaustion of drawing<\/em>
The figure is only a temporary and reductive mask placed over<\/em>
the depthlessness of human passions.<\/em>
How can we represent a unified, stable, defined and, therefore, finished human figure,<\/em>
when the human being (his essence) is the chaos of feelings and emotions?<\/em>
How can we paint this \u201ctragic\u201d aspect of the human condition?<\/em>
The essence of the human that in itself
allows us to account for the human figure?
How can we account for what exceeds value?
The essential that resists any formatting includes its inscription on the canvas.
The expression of fundamental human emotions that resists all order and measure, limit and definition, figure and circumscription.
an infinite depth within the canvas\u2026\u201d

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“What I tell you
doesn’t change me.
I don’t go from the biggest
to the smallest.
Look at me.
Perspective doesn’t matter to me.
I hold my place
and you can’t move away from it.
There’s nothing around me anymore.
And if I turn away,
Nothing has two faces.
Nothing and me.”
Paul \u00c9luard<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Fabienne Verdier, Passag\u00e8re du silence, Paris, Albin Michel, 2003, p. 26.
Nilton Bonder Tirando os Sapatos. O Caminho de Abra\u00e3o, Um Caminho Para o Outro, Rio de Janeiro, Rocco, 2008. (I’m the one who translates)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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femme qui marchework in progress since 2022drawings and paintingsvarious dimensions \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u201cThis is a work in progress\u2026I share here the whirlwind that inspires me.\u201d \u201cIn the morning I darkenin the day I delayin the afternoon I grow darkat night I burn.To the west deathagainst whom I livein captivity […]<\/p>\n","protected":false},"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[],"tags":[108],"class_list":["post-17094","texto","type-texto","status-publish","format-standard","hentry","tag-text"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/texto\/17094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/texto"}],"about":[{"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/types\/texto"}],"replies":[{"embeddable":true,"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/comments?post=17094"}],"version-history":[{"count":25,"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/texto\/17094\/revisions"}],"predecessor-version":[{"id":19187,"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/texto\/17094\/revisions\/19187"}],"wp:attachment":[{"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/media?parent=17094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/categories?post=17094"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.claudiarudge.com\/en\/wp-json\/wp\/v2\/tags?post=17094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}