Letícia Parente by Leticia Parente

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The main characteristic of my work is that it is not attached to any particular characteristic. Its dynamics is more spread out than linear. I allow it to follow a process, my process of discovery and view. Its evident roots of unity are inside me and result from the interaction of my reality with the social and historical reality of the time and moment in which I live. It is more interrogative than descriptive. It serves an intentional purpose as strictly as I can as well as the most coherent reading I can deliver – which does not mean that it fails to achieve a broader picture – coupled with the work interaction with those who enjoy it. The audience participation is an aspect that is expected and taken into account.

According to the project, sometimes it emphasizes the archeology of the present time, other times a denunciative and critical language.There is a variation of media. There is a selection of media. There is an addition and a combination of media. Preferably unconventional media. Criticism against the traditional form of art, provided that is not taken as an object of consumption, in the sense that it is not intended for sale, though it may happen. It is open to various levels of interpretation and audience, without a concern for selection or dilution, and it frequently becomes a shocking event within “artistic orthodoxies”, since it does not exclude or impose any kind of person. Thus, this adds a new critical aspect in relation to the art system and demystifies it.

In some works, the method of approach may be enriched with a perspective or view that is used in scientific subjects. It is the destruction of another taboo. The rationality it requires, however, does not intend to put the logic on a pedestal – it also becomes subject to criticism and denunciation. The verification of the human being without proselytism or dogmatization may well be the most constant and present concern.

Relationship with the art institution

For some time I found it difficult to carry the burden of appearing as a professional scientist in an ‘opposite’ professional area. I had the impression that art professionals did not accept that condition. However, little by little that impression was gone. The relationship developed like in any other group, that is, with the usual difficulties inherent to people, external pressures, etc.

Regarding the critics, I always found approaching them difficult. I always kept a distance and feared to take any opportunity to ‘break’ the walls. The fear went away, but I still remained distant. I think the critique is necessary and I believe it will always exist. The professional manner in which it is made differentiates the necessary from the unnecessary critique. I do not think those professionals should have any more power than that granted by the system when they use public opinion vehicles. However, in fact, there is no way of neutralizing the multiplying effects other than by demystifying the action through a greater awareness of the work itself and an independence of the market as a means of economic survival.

The audience seems to me much more important because it also includes the artists’ category. I have no restrictions as to the audience. I think that any audience is important. I think that each one enjoys it in its own way. The level of enjoyment is open. If the work level is exhausted in one gulp, tough luck. It was not enough for the thirst and the space.

Group experience

It was one of the best human and professional experiences I have ever had. Including all crises of birth, growth, etc. When I ‘geographically’ separated from the group, I considered it an irreparable loss.
Indispensable for:

a) Lucidity;
b) Stimulus;
c) Sense of reality;
d) Information;
e) Action in the environment during times of political activity.

The existence of an art group is a constant struggle against a conditioning of individualist artists. The actions may sometimes be childish or superficial. But if you do not go through the experience many valid things will not be discovered.

From a personal point of view, the affection and negative feelings are part of the mixture. All of this is very important. They threaten and cement. They make it grow or fragment it. As to endurance, it is hard to keep it. The groups will also have to open up, close, redo, enlarge, cease, apparently die, begin and so on. I transferred here the need to experience in group the problems of the professional life of the industry. I do not think I can leave it