<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1647-6158</journal-id>
<journal-title><![CDATA[Revista :Estúdio]]></journal-title>
<abbrev-journal-title><![CDATA[Estúdio]]></abbrev-journal-title>
<issn>1647-6158</issn>
<publisher>
<publisher-name><![CDATA[Universidade de LisboaFaculdade de Belas-Artes]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1647-61582021000300044</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[A &#8220;eternidade do presente&#8221; na joalharia de Dulce Ferraz]]></article-title>
<article-title xml:lang="en"><![CDATA[The &#8220;eternity of the present&#8221; in Dulce Ferraz's jewelery]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Albuquerque]]></surname>
<given-names><![CDATA[Isabel Ribeiro de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Lisboa Faculdade de Belas Artes Departamento de Artes Plásticas/Pintura]]></institution>
<addr-line><![CDATA[Lisboa ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>09</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>09</month>
<year>2021</year>
</pub-date>
<volume>12</volume>
<numero>35</numero>
<fpage>44</fpage>
<lpage>55</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S1647-61582021000300044&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S1647-61582021000300044&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S1647-61582021000300044&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O percurso criativo de Dulce Ferraz é marcado pelos territórios por onde foi passando e vivendo. A memória das paisagens, das cartografias do pai e das artes que aprendeu no japão - Chinkin, Rattan e Ikebana - refletem-se nas suas peças de joalharia, levando-nos a refletir sobre escultura e escala e a dialética de paisagem/ não-paisagem, cheio/vazio, interior/exterior e lugar/não-lugar. Se por um lado as peças da artista funcionam como escultura em miniatura levando-nos a abordar a obra de Robert Smithson, por outro, as &#8220;joias de pousar&#8221; no mundo dos objetos funcionam como haikus japoneses na poesia, na literatura.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Dulce Ferraz&#8217;s creative journey is determined by the regions where she lived or passed through. Her memory of the landscapes, of her father&#8217;s mappings and the arts she has learned in Japan - Chinkin, Rattan and Ikebana - reflect themselves in her jewellery pieces, leading us to think about the sculpture, the scale and the dialectical relation between landscape/non-landscape, full/empty, interior/exterior, place/non-place. If on one hand the artist&#8217;s pieces work like little sculptures, that push us to address the work of Robert Smithson, by the other hand, these standing jewellery in the world of the objects, work as Japanese haikus in poetry, in literature.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[não-paisagem]]></kwd>
<kwd lng="pt"><![CDATA[escultura]]></kwd>
<kwd lng="pt"><![CDATA[escala]]></kwd>
<kwd lng="pt"><![CDATA[haiku]]></kwd>
<kwd lng="en"><![CDATA[non-lanscape]]></kwd>
<kwd lng="en"><![CDATA[sculpture]]></kwd>
<kwd lng="en"><![CDATA[scale]]></kwd>
<kwd lng="en"><![CDATA[haiku]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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</article>
