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This article discusses the issue of the pictorial gesture potency in Carolee Schneemann’s creating process and how her use of herself body allowed her to question whether she could, in addition to an image be also an image maker: a poetic and theoretical juxtaposition at the same time, which causes specific displacements in her performative work. This study aims to correlate operatory concepts around the nymph as a theoretical object, with special attention to its accessories in movement, in the Warburgian sense, from the examination of iconological paths and theoretical approaches inaugurated by Aby Warburg, having as focus the crossings between painting and the body arts.

A Creative Process between Painting and Body Arts: Carolee Schneemann and Aby Warburg,