“Adriana Peliano, a young Brazilian artist and president of the Lewis Carroll Society of Brazil, through fragments, collages, montages, mandalas, metamorphoses and assemblages awakens an attractive inventory of magicians and multiple universes of visual art, reinventing everyday logic, proposing new meanings through language games, inserting the interlocutor into dream labyrinths. From Alice and her adventures, expanded through readings and re-readings that have taken place over the years, Peliano has been composing a critical repertoire of creativity in priceless works.
In 2011, the Brazilian artist was responsible for the translation, typography, and graphic design of Alice’s Adventures under Ground, the manuscript by Carroll, published in Brazil; later she illustrated Alice books such as the 150th anniversary edition by Editora Zahar, which brought together in a single volume Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There. The first image of the mosaic, the White Rabbit, is one of the illustrations in this book.
In her latest book, Alice in Seven Keys published in 1921 in Portuguese by A Mascote Editora and in English by Underline Publishing, Peliano invites us on a journey through several labyrinthine spaces, where keys are offered to open portals and face unusual and dreamlike settings. Spaces in which our gaze undergoes constant “surrealicedelic” metamorphoses, as we perceive ourselves in gardens of dreams, in which imagination, and creative and critical inventiveness propel us through fragments of universes that connect to our existential questions.
The work is analogous to a game in which, when playing with possibilities that “move in fractals of infinity like the largest alicescope ever seen!”, the reader begins to navigate through a work woven with threads to be woven through dialogues between languages (verbal, visual and sound), between literature and the visual arts. Peliano’s production, of her singular aesthetic with its collages and interventions, defiantly brings us reverberations of figures by John Tenniel and Gertrude Thomson—who illustrated the original Alice books—and paintings by Hieronymus Bosch, Marx Ernst, Salvador Dalí, and Monet, just to name a few. The verbal, in this text, gains iconic configurations in analogy with keys: portal keys, reading keys, dream keys, etc. The book, lends its materiality to design for the composition of enigmatic narrativity.
In this work by Peliano, we are faced with a contemporary scriptural form that takes place as a process of disarticulation of all pretensions to the universal, of all rituals for the demarcation of powers and glories. In this way, a literature is created in the intertwining of different arts, from different discursive planes, out of any order or way that monopolizes time, space and imagination, reverberating expanded elaborations that can harbor complexity. As in her dream, Alice, assuming unusual figurations, certainly imagined herself into this book.”
Maria Zilda da Cunha in. “diálogos e insólitas figurações”.
Imagens em migrações poéticas: miradas potenciais. São Paulo: FFLCH/USP, 2021.
Tradução: Adriana Peliano
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