Márcia Porto operates in the symbolic field, creating nonlinear narratives from large panels that she elaborates on the walls of her studio, where she gathers images and texts she collects. She lives and works in Nottingham, United Kingdom. She received her MFA in Visual Poetics from Unicamp, Campinas (2008) and her BFA in Visual Arts from Unicamp, Campinas (1987).
My practice in the studio is profoundly ritualistic: from the way I occupy the spaces and walls - where I create montages with elements collected from different sources - to the realisation of performances in which particular scenes become a piece of art in their own right and in their own time. The compilation of my references is the result of the relationship between literature, cinema, historical facts, alchemy, personal stories and current affairs. I use drawing, painting, performance, and installation to create nonlinear narratives impregnated by such references, where the presence of the Ginaiques – a group of nomadic women, simultaneously self-referential and foreign – is recurrent.
I believe that the traveling body can take root in centuries and in forgotten places, where there have always been women longing to depart, and they did. My research and creation processes, therefore, explore the itineraries of the long journeys wandered by those women, whose potency is the willingness to action. Nomadism, in this case, is seen as an escape strategy from homogenifying identities processes, knowing that such processes overwhelm the diversity of life and culture of women. I am particularly interested in approaching two viewpoints: libertarian actions and invented traditions. Since 2000, I’ve been exploring this tension. During these years of work, I’ve observed the following: when the Ginaiques break with the norms and discourses, two seemingly distant actions emerge – on the one hand, the return of ancient gestures; on the other, the caos, a total otherness.
Ginaiques’ hair says a lot about them. Using their hair, they create new places, spaces, connections, fragile territories. Their long braids are instruments of self-expression and uniqueness, in addition to having their own autonomy and rituals.
It has been reported that these women have yearned for a place to exist. Wanderers that they were, they would spend a day with four words: inversion, transposition, inundation and irradiation. For many generations, the Ginaiques have forgotten their origin – and now, freed from the order of time, they evoke:
– “When did we leave the door open?”
I first saw your image at the age of ten.
Child in the cousin´s library, I closed the door, leaving behind the coffee aroma, voices, laughter...
I opened a green backed book, with the image of a woman shedding milk into a bowl, next to a window of magical light.
On each page, an universe. So you arrived, with this gesture that I never tire of imitating (I even made a bracelet).
Your burnt Sienna hair, without the diadem, is certainly long. The kalathos-vortex, which you hold in your left hand, houses and propagates flowers simultaneously.
Your garments, the yellow tunic – what does it feel like to wear fluid and wind?
What space is this where you (not) step?
What is it like to live in a restricted palette, with so many subtle possibilities of unfolding?
Are you picking or growing flowers?
Flora di Stabiae
I – 45 d.C.
Museo Archeologico Nazionale di Napoli