From scribbling to risking

Telmo CASTRO*1

*1 Escola Superior Artística do Porto


In the novel “A Caverna”, Saramago metaphorically describes the syntax of the act of drawing: "the creators have like little brains in their fingertips." This subtle testimony reminds us of the importance of the haptic. It is also explained because drawing is, as a methodological or procedural tool of design, the recognizable holder of ideas, the referencial repository of the signifying resources of intuition and perception.

The meaning of these drawings emerges inevitably in construction, linearly translated into two- or three-dimensional synopses, through calligraphies that sustain and shape in the mind truths and lies about the act of drawing. For this reason, the importance of this instrumental/methodological drawing, its aesthetic manifestation, makes it the fundamental, complex clarification that evidences the integral dynamics of drawing as “cosa mentale”. This is the basis of understanding, conveying the atractive dimensions of environment, of gesture, of perpetual questioning, of useful detail, of the contour of the spacial solution in its purposeful relationship with construction.

This integrated, dimensional broadness, where "(...) each drawing becomes in itself a new element in the reality one must perceive and problematize"1, produces change in both design and drawing, in sequential repercussion; the before, the now and the then, are interposed through overlappings or comparisons resulting from the evolution of imagination.

The drawn record as clarifying language: idea, form, object, are dedicated and materialize in transformative elements of mental imagery, in correspondence with the invention of that which is obvious, with the clarification of the drawn object and its uncomfortable significance. Thus, drawing responds by approximation, "through which it is able to be a vessel for the acquisition and accumulation of numberless knowledges and circumstances of a time, images that there remain until present together, all particles likely to come together to form a new compound"2.This is the evocation of drawing as exploratory design, as an articulated postponement of thought that Alberto Carneiro somehow summarizes: "the subject draws the world and itself in the complexity of the succession of moments of its feeling and thinking."3 Its singularity and consistency come close to the literary process and, in the construction of knowledge, are resilience personified by "the thing that scribbles".