Project Proposal v.2


At the beginning of this master’s degree I was focused on experiencing only with light. Perhaps this choice came from a great insecurity and dissatisfaction with my video work, related to negative memories remaining from the time when I worked professionally in the area, making traditional documentaries. However, in reviewing what I have produced in this past year and where I was going to, I began to realize how important the role of image production is in my artwork (whether moving or still). In an almost instinctive way I record moments and try to construct narratives, so the camera is my greatest tool of artistic and professional expression.

I am not abandoning the project regarding luminous perceptions, after all this project  beared the fruit of my Brazilian dissertation and also guided my Research Paper in which I studied the relation of the light and sound performances of the pair of artists Mirella Brandi and MuepEtmo with Expanded Cinema .

Now I am updating this project, going even further into the universe of expanded cinema, because I understand the projected image as luminous sculptures. Thus, I intend to investigate the light of the projected image and its relation with the exhibition space, proposing physical distortions through different projection supports. I have called this project Fluid Screen Experiments, and within these “light sculptures” I intend to experiment with flexible or natural materials (water, fabrics, transparencies …) and understand the relationships between light, image and environment.

Being consistent with my artistic practice that presents themes such as time, uncertainty and constant movement, the project that follows is again a draft, because it will continue to be changed and updated.

So here’s the new version:

Working Title:

Fluid Screens Experiences 

Aims and Objectives:

This project aims to experiment with possible materials (natural or artificial) that may bring the characteristic of distortion of light as a support of the image projected in the exhibition environment. Moreover, I intend to study a physical adaptation / translation of the final work presenting it for greater acceptance in the art market (sculpture, painting, photography)


  • Reflection and Analysis of the different uses of projected images in the context of expanded cinema and contemporary art;
  • Producing moving and still images around the subjects of time, contemplation, memory and uncertainty to be used in the experiments (maybe site specific);
  • Experiment with materials (natural or artificial) that allow us to distort projected images, such as water, glass, mirrors, paper…;
  • Transforming the material research into small art pieces that in the end could becme a cohesive body of work around the subject;
  • Find out if there is a subtle way in which the viewer can interact with the material;
  • Experiment the possibilities of working with projected images on a large and immersive scale;
  • Create a final work according to the concepts of expanded cinema and the researched materials;
  • Create a version (translation) of the piece more suitable for galleries;
  • Record and share the whole process on the blog and with small videos;


Expanded Cinema is a very broad perception and a lot of different experiences have been made regarding images, projection, screens, and narratives. The first use of the term was made around 1960 by the artists Stan VanDerBeek and Carolee Schneemann concerning their multimedia performances (Rees, 2011:12). When the former artist used the term about immersive experiences and the latter used it as “a form of ‘kinetic theatre’ that applied the principles of light and movement within film to the actionist principles of Abstract Expressionist painting.” (Derraik, 2014:7). It is best seen as a “form of live art, linked to theater and performance, rather than to recorded media as such” (Rees, 2011:12).


  • Practice-based research – thinking and researching while working and creating a new art piece;
  • Record the process on the blog and in short videos;
  • Adapting the final installation into a new media more suitable to sell the galleries;


A group of experiments showing the process of the research and an final expanded cinema installation made with distorted projected images. Also, one version of the work that fitting the art business expectations, like a drawing or a digital print.

Work Plan:

Second Year:  In-depth material research, and the creation of the final artwork.

Bibliography: (under Construction)

Bovier, F., Mey, A. (2016) ‘The Multiple Sites of Expanded Cinema’ in Bovier, F., Mey, A. (ed.) Cinema in the Expanded Field. Switzerland: JRP Ringier Kunstverlag AG, pp.6-12.

Bruno, G. (2016) ‘The screen as object’, In Archey, K.; Bruno, G.; Canemaker, J.; Droitcour, B.; Iles, C. (ed.) Dreamlands: Immersive Cinema and Art, 1905—2016. NY: Whitney Museum of American Art, pp. 156-167.

Curtis, D. (2009) ‘What is Expanded Cinema?’  Interview by Tate, Available at: (Accessed: 15 September 2017).

Clark, R. (2011) ‘Phenomenal: California Light, Space, Surface’, California: Univ. of California Press.

Derraik, M. (2014) liveness, cinema, technology, and intuition. How useful is ‘Live Cinema’ as a way to describe contemporary live audiovisual performances, Unpublished Master thesis in Digital Media, Goldsmith University.

Geiger, J. (2003) ‘Chapel of Extreme Experience: A Brief History of Stroboscopic Light and the Dream Machine’, NY: Soft Skull Press.

Gidal, P.; Webber, M. (ed.) (2016) ‘Peter Gidal: Flare Out Aesthetics 1966-2016’. London: The Visible Press.

Marchessault, J. (2007) ‘Multi-Screens and Future Cinema: The Labyrinth Project at Expo 67’ in Lord, S., Marchessault, J. Fluid Screens, Expanded Cinema. Canada: University of Toronto Press.

Meigh-Andrews, C.  (2006) ‘A History of Video Art’. London: Bloomsburry.

Rancière, J. (2011) ‘The Emancipated Spectator’ NY: Verso Books.

Rees, A.L (2011) ‘Expanded Cinema and Narrative: A Troubled History’, in Rees, A.L.; Curtis, D.; Duncan, W.; Ball, S. (ed.)  Expanded Cinema: Art, Performance Film. London: Tate Publishing, pp. 12-2.

Rush, M. (1999) ‘New Media in the late 20th century art’.  London: Thames and Hudson.

Youngblood, G. (1970) ‘Expanded Cinema’. NY: P. Dutton & Co.


No início deste mestrado eu estava focada em experimentar apenas com a luz. Talvez  essa escolha tenha vindo de uma grande insegurança e insatisfação com meu trabalho de vídeo, relacionada com memórias negativas remanescentes do tempo em que trabalhava profissionalmente na área, realizando documentários tradicionais.  No entanto, ao rever o que eu produzi neste último ano e para onde estava seguindo, comecei a perceber o quão importante é o papel da produção de imagens no meu trabalho artístico (seja imagens em movimento ou still). De uma forma quase instintiva eu registro momentos e tento construir narrativas, assim a câmera é a minha maior ferramenta de expressão artística e profissional. 

Não estou abandonado o projeto referente as percepções luminosas, afinal este projeto gerou o fruto da minha dissertação brasileira e também guiou o meu Research Paper no qual estudei a relação das performances de luz e som da dupla de artistas Mirella Brandi e MuepEtmo com o Cinema Expandido.

Agora estou atualizando este projeto, adentrando mais ainda no universo do cinema expandido, pois entendo a imagem projetada como esculturas luminosas. Assim, pretendo pesquisar a luz da imagem projetada e sua relação com o espaço expositivo, propondo distorções físicas através de diferentes suportes de projeção. Eu denominei este projeto de Experiências em Telas Fluidas, e dentro destas “esculturas de luz” eu pretendo experimentar com materiais flexíveis ou naturais (água, tecidos, transparências…) e entender qual são as relações entre a luz, a imagem e o ambiente.

Sendo coerente com a minha prática artística que apresenta as temáticas como tempo, incerteza e movimento constante, o projeto que segue é novamente um rascunho, pois ele continuará sendo mudado e se atualizado. 

Então segue aqui a nova versão: 




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