THE UNSPECIFICITY OF WORLD-IMAGE IN LEONILSON

The inscription of the I in the contemporary work of art is one of the most prominent political tools of our time. The marks of subjectivity are based on aesthetic products, breaking the frontiers of gender, language and discourse. In investigating the initial manifestations of such autobiographical and multi-media connection of Brazilian art especially after the end of dictatorial time, we find Leonilson's production. This artist involved forms and contents based on the writing of his Desire. By constructing canvases with verbal language as much as with pictorial language, Leonilson elaborates narration and poetry with embroidery, ink and sculpture, performatizing what is not fully defined. Therefore, in the unspecific (GARRAMUNO, 2014) and expanding the literature (PATOS, 2012), the artist asks us about the limits between the artistic fields, the relevance of hybridization in culture and the power of the word that is also image.