From framing to happening: Yêdamaria Oliveira a visual artist spiraled in her own time.
Yêdamaria Oliveira, framing, visual arts, look
In this research, I investigate the trajectory of Yêdamaria Oliveira (1932-2016) and its points of artistic immersion, the harmful effects caused by the multiple folds of racism and sexism, which hide imagery frameworks to control and reduce our participations, as issues and issues descending from an African diaspora, in the Brazilian society. Using the intertwining of the reports of the experiences of the artist as a black woman in transit, or in silent flight, I seek to understand from of his heels that reject framing and magazines common to black bodies, mainly to the bodies of black women, as movements of uninterrupted escapes enabled connected devices, ancestral tools that help our heels. Here, writing based on what I heard, “[...] a museum just for niggaz? But whoever was a nigga is a museum? ” and like a black body auditory-receptive-translator, became a counter-measure to this imperial gaze, colonial, which encloses us. Using narratives as a device epistemic-methodological especially for the center of this artist as a creator, I consider the agglutinating role of art fundamental for the materialization of thought in art, enabling the creation of other imaginaries and points of view, even beyond the “still life” itself.