Dr. Marcelo Guimaraes Lima
2012
The surrealist image attempts to short-circuit the distinction between the substance and the form of representation by playing upon (by both extending and contracting) the distance between the sign (or the icon as subsumed within a given significant system) and its supposed, intended or anticipated meaning. The written word as imagined in the painting of Miro is language itself finally revealed in its essential nature, namely, as a specific form of the imaginary. And the image, grounded in the free workings of the human mind—fixed and yet unstable as in photography, mutable and yet constant as in film—reveals itself essentially as ‘abstraction’: the image, that is, thought itself.
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