Patrícia Azevedo & Clare Charnley

Gestosinho

The main objective was to generate interactions with the people of Manhouce, their geographical and social space, its identity and memory in order to conceive a sound poem, using red audio chips as the ones found in talking toys. Thinking of the resilient character of storytelling culture, and the fact that the rural world still maintains a strong connection between its landscape and its uses, the two artists thought of weaving a poetic cloth made by material and immaterial realities over lapping with each other. The process consisted of several regular walks while recording, with red audio chips, sound figures found in landscapes or daily tasks. After wards, an invitation was made to the volunteers recorded, have them listen and create a free translation from the sound to voice, an onomatopoeia or figure of speech, using the voice itself, being recorded with a different chip.

Patrícia Azevedo was born in 1964 in Recife, Pernambuco, while presently working and living in Belo Horizonte, Minas Gerais, Brasil. An artist that develops audio-visual projects, a mix of techniques such as photography, language and media relationships, power and territory, public urban space intervention, etc. Azevedo produces work with materials like posters, books, stickers. postcards, small saint statues, newspapers, internet, etc. Currently, she’s a permanent teacher in the BA of Visual Art of the Federal University of Minas Gerais. Academic Habilitations:

-BA in Philosophy-Paris VIII University, Paris-France, 1987;

-MA in Philosophy-Federal University of Minas Gerais-Brasil, 2005;

Clare Charnley is an american artist with academic habilitations in:

-BA in Fine Arts-Leeds Polytechnic;

-MA in Fine Arts-Chelsea College of Arts;

Nowadays, Charnley belongs to the department of investigation 0.5 of the University of Lincoln, as well as performing as a teacher of Fine Arts at Leeds Beckett University.

Clare Charnley (UK) and Patrícia Azevedo (BR), work together since 2007. They use different types of mediums-photography, audio, video, performances-in order to develop projects that speak of language, territory and power observations and interrelations. In the artifacts, images and relationships that are born from the act of communication and active response from the audience, they find the core for their projects. Through their group projects they’ve been acknow ledged by winning contests at the Visiting Arts and British Council, and becoming the first runners up at the Northern Art Prize of 2009. In 2010, Charnley and Azevedo, have also been commissioned to develop work for the Bluecoat Gallery, Liverpool; PS Gallery, Leeds; Belfast Exposed, Belfast; Crunchtime, York.