Portraits
Cátia Pinheiro / Estrutura
May
2023
Thu
25
About Carta à Matilde
Can we look at your piece as an autobiographical work? In what way? What do you think this performance can reveal about you both as artists?
Yes, as in previous projects of Estrutura, this is a performance that starts from autobiographical elements. Usually, we use our biography, not only to transpose it to the stage, but to speculate, fictionalize and create other possible worlds.
During your creative process, were you inspired by any autobiographical work or self-portrait?
In my works, I am always inspired by other references, and this performance is no exception. Many of these references are not necessarily autobiographical or artistic works. In the case of performance many of the references came from fields such as philosophy, anthropology, or biology, for example. Moreover, I never start with the idea of creating an artistic object as if it were an object outside life, but as being more of a part of that same life, and I think it helps to understand a little bit how all this is mixed: the autobiographical elements, the artistic references and all the other external references to the artistic field.
What is the process of sedimentation of this "letter-space"? How porous is it?
It's a difficult question to answer. Many times, I have got away from the idea of a letter and then come back to it. It can be said that this paper perspires through every pore. It is a letter to Matilde, but also to other "Matildes". It is a multiformat letter (performative, visual, sound, etc.).
And how did this "letter-space" become this "letter-performance"?
There are things that are impossible to explain, others that are very difficult or that have to be postponed for "tomorrow"... It was also for this reason that, without the pretension of encompassing everything, but enhancing the possibilities of this letter-performance, I realized that I had to summon other people to accompany me in the creation of this challenge.
Can we look at your piece as an autobiographical work? In what way? What do you think this performance can reveal about you both as artists?
Yes, as in previous projects of Estrutura, this is a performance that starts from autobiographical elements. Usually, we use our biography, not only to transpose it to the stage, but to speculate, fictionalize and create other possible worlds.
During your creative process, were you inspired by any autobiographical work or self-portrait?
In my works, I am always inspired by other references, and this performance is no exception. Many of these references are not necessarily autobiographical or artistic works. In the case of performance many of the references came from fields such as philosophy, anthropology, or biology, for example. Moreover, I never start with the idea of creating an artistic object as if it were an object outside life, but as being more of a part of that same life, and I think it helps to understand a little bit how all this is mixed: the autobiographical elements, the artistic references and all the other external references to the artistic field.
What is the process of sedimentation of this "letter-space"? How porous is it?
It's a difficult question to answer. Many times, I have got away from the idea of a letter and then come back to it. It can be said that this paper perspires through every pore. It is a letter to Matilde, but also to other "Matildes". It is a multiformat letter (performative, visual, sound, etc.).
And how did this "letter-space" become this "letter-performance"?
There are things that are impossible to explain, others that are very difficult or that have to be postponed for "tomorrow"... It was also for this reason that, without the pretension of encompassing everything, but enhancing the possibilities of this letter-performance, I realized that I had to summon other people to accompany me in the creation of this challenge.
