coeficiente disponível 0001.jpg

My production started through photography. 

In the beginning I was driven to the photographic image and its genders, specially landscapes. I was interested in how the genders as portraits and Landscapes were structured and was attempting to play with those elements as metaphors for the construction of the image itself. The early works were attempting to discuss the relation between the final image and place were the picture was taken and trying to stress the relation at a certain point where it would be impossible to recognise a place. The image would be a suggestion of landscape, or a notation of a feeling that had come from experiencing a certain place at a certain time. The idea of time kept entering slowly into the works as I developed the “other place” series, where I was shooting the same places in different times of the day and weather conditions. The large scale images of “fields” and “deep fields” were attempts to establish a relation between the landscape as gender and the space of canvas, the blank sheet of the note book, the space reserved for creation. Images of the beaches during the night (with no usage but preserving the marks of usage) and the soccer field during dusk were showing a space that is open for the hole society without specific or determinate use were trying to bring the reflection over the act of image construction and where it happens, how we are responsible for the place of creation. Were also a reflection about the gender of landscape, and how the empty space is not free or innocuous, is part of a society and has to deal with it´s own laws of the game. The concepts of “representation” and “point of view” it´s consequences involved within photographic media plays central roll in my production. The ones related to the optical and physical processes and how it engage political consequences. Where we are and where we are looking at, how the image is deliberated construction and what are the units of construction that we use to to build meaning from scratch. 

Every look is political, every image is deliberately constructed.