Bridging Arts Education: Possibilities through Images as Visual Narratives of a Research

“[...] el «Dibujo» es siempre una acción ontológica que se establece como problema de sí mismo. En este sentido, tanto la vida como el quehacer del dibujo se establecen en lo que hay de hacer, en la necesidad de su propia definición, aquello que problematiza es lo que establece el sentido de su acción, redefiniendo en ello la propia condición de aquello que entendemos como dibujo.” (MOLINA, 2002: 25).


Introduction
This work intends to articulate through images contextualities and cartographies of living experiences in bridging Art Education from Portugal, Brazil, Australia and Finland.We are married and lived togheter some experiences of a PhD out of our home country, Brazil.Flávia was making a PhD in Arts Education at Porto.University, Portugal.We lived in Juazeiro, Bahia, Brazil and from 2013 to 2015 we became and connect bridges in traveling and seeing, drawing through Arts other possibilities of thinking.So, this work is also part of a expanded research in the field of Arts Education in Muti, Inter and Trans in Arts Research Group -MITA at Federal University of San Francisco Valley -UNIVASF, Juazeiro, Bahia, Brazil.
The choose of the images above was qualitative and oriented by those questions: -How can we articulate different contextualities and cartografies bridging Art Education?and -What kind of connections can we find when we discuss and dialogue beyond frontiers?
In those places we could dialogue between texts, contexts and interpretations of investigative experiences in Visual Arts, since "[...] enseñar es conversar, aprender es conversar, experimentar es conversar.",(WAGENSBERG, 2008, p.102), understanding the imbricate connection between the context experienced thus exposing a formal conversation in narratives, knowing that these can also be understood through images as visual narratives.Hernández (1989) states and Molina (2002), understanding that image and texts (visual and written narratives) complement each other.Hernández (1989) states that the etymology of the word drawing is connected to the concept that the drawing exists at the same time in its representational action and in its results as a production of mind.Molina (2002) emphasizes the need to define the drawing, conceptualizing the processes of thinking and creating that establishes a meaning in the action of doing through representation.
In this thesis, I agree with concepts by Hernández and Molina, and we understand that they complement each other.
Both researchers claim that drawing is a representation of experience and a narrative discourse that comes with the action of experiencing.In this case it is only possible for researching drawing if a researcher experience drawing.We understand that we are drawing out researching trajectories and trying to interact with the places and objects we see and met.
Those images was chosen using A/r/tography, a research methodology that was developed and published by Canadian researcher Rita Irwin and can also be considered a qualitative  It is a dialectical perspective that combines theories and artistic practices, educational and investigative in-between (a concept-key of A/r/tography) spaces.From this perspective, processes are seen in their complexity, as being established by perception, as the questions are developed through specific experiences (Irwin & Springway, 2008).
Reflecting about the process of investigating and making Art, we connects with the indications of Hall (2003, p.15), the representation connects meaning and language.In drawing, this notion shows the acquired codes and graphic vocabulary in constant construction from the first years of any individual's life.The drawing is not limited to the use of a pencil and paper, a language based on communication issues or a unique language, but it makes use of language instruments in order to go beyond the communication of vision.It belongs to a complex system of representation that begins in the graphic vocabulary composition and allows its visualization through concrete or virtual surfaces.
Regarding the relation between words and pictures, I agree with Didi-Huberman's ( 2012) view that both are not opposite parts of language, because together they form a relevant con-  Words and images each articulate a record where it is possible that what one told in one language is not the same thing as the other.As described by Barros (1998, p. 55), the images are words that we lack, and in the absence of words, the image covers this abyss.
Understanding the space between words and images I chose some drawings produced during investigation process, rethinking that what an image can represent is not always the same as the word indicates.
The production of meanings comes from different contexts and intersections and this go beyond in-between theories and practices of an Arts Education Research Based in Visual Arts.
Regarding the poetics of the creative gesture, writing and images are generated through creative processes within the tension between limits and freedom and the tensions that they  cause (SALLES, 1998).In this research, the drawing and the images that are also considered expanded drawings was the context through which a creative process was developed.
Through the act of drawing and photographing expanded drawings, Flavia intended to understand and interpret the representations more accurately from the thinking processes, through to practical experiences in the field of research, in order to build inter-subjective artistic/educational bridges, as these drawing are realized from memory to line on a paper.As far as representation is concerned in drawing and the research experiences, Flavia realized the complexity of understanding a concept that not only refers to an artistic practice, but is also related to a product of a discourse.Therefore, she consider the drawing an artistic and

Figure 3 :
Figure 3: Flávia and the risks of too much Drawing with a pencil.At University of Lapland, Finland.2014.
40 Synnyt / Origins | 2 / 2019 | Non-peer reviewed | Full paper nection in memory, like an archeological treasure or tomb.Drawing is a significative part of humanity's memories.