Os Diabretes de Ponte de Sor

Abstract

Este, além de personificar o aluno, eventualmente era também inspirado nas tradições do figurado cerâmico popular português, como as de Rosa Ramalho em Barcelos ou outras. Igualmente a figura do Careto transmontano serviu de mote a este trabalho que se debruçou assim sobre património material e imaterial, tradições e artesanato. As peças elaboradas em barro vermelho, banhadas posteriormente em caulino branco, foram pintadas com tintas de alto fogo e novamente banhadas em vidro para serem cozidas em monocozedura a 980ºC. Elaboradas numa sala e posteriormente transportadas em mão para outra onde se situava o forno, além de tocadas ou subtraídas pelos colegas curiosos, quase nenhuma sobreviveu incólume ao processo que demorou semanas, faltando a todas braços, pernas ou mesmo quebrando-se por completo. Não obstante pelo interesse, significado e estética são expostas neste trabalho. In this Visual Education project, we asked students in the 3rd cycle and high school, 12 to 18 years old, as well as those in special education, to create the figure of a “Little Devil.“ This figure, in addition to personifying the student, was also sometimes inspired by the traditions of popular Portuguese ceramic figurines, such as those of Rosa Ramalho in Barcelos or others. Similarly, the figure of the Transmontane Careto served as a theme for this work, which thus focused on tangible and intangible heritage, traditions, and crafts. The pieces, made of red clay and subsequently bathed in white kaolin, were painted with high-fire paints and again bathed in glass to be fired in a single firing at 980°C. Made in one room and later carried by hand to another where the kiln was located, in addition to being touched or taken by curious classmates, almost none survived unscathed through the process that took weeks, all lacking arms, legs, or even breaking completely. Nevertheless, due to their interest, meaning, and aesthetics, they are exhibited in this work.