Poiesis & topos. Huertopoema, the poetic identity

Poiesis & topos. Huertopoema, the poetic identity

Holga Méndez Fernández

We cannot reflect on our own cultural context without knowing another one. We need to stand aside from our own context in order to understand the difference. Huertopoema condenses this vision of poetic identity, of the space of the crop and the poem, in search of balance in the use of topos, such as the garden and as a form of artistic life; farm labour; sowing and harvesting are synonyms of poiesis. Its fundamental principle is based on an elementary spatial order and rational arrangements, as well as a comparative grammar that encrypts its interpretation and its knowledge not only in aesthetics, but through intuition. Like a sculpture, like a musical score, like a painting, a poem made into a garden; just as words are laid out on the page, the furniture in the space of the room, a huertopoema functions as a complete work: earth, water, air, day, night, fruit, vegetables, animals and people live together, coexist, make the huertopoema. There is a direct reference to 'concrete poetry', to concrete music; to take a case in point, the references to works by Erik Satie, John Cage, Vicente Huidobro, Ian Hamilton Finlay, Joan Brossa, Marcel Duchamp...Visual poetry. Object poems.

2014

Agricultura, Arte, ecología, ecopoética, modos de existencia

10.30827/dreh.v0i5.7006

DEDiCA

Universidad de Granada

History of scholarship and learning. The humanities, Education (General)