Hi Jacob Gravelink,
I tried to say some things I thought important about each series and something about how they connect to each other, but not in a sense of limiting other interpretations. In most of all my works I attempt to bring a discussion about photography and how it works as a media producing meaning.
I see my self working with photography as aesthetical media but that relates to something in reference, real things. The image represents an intention, they are at lest the documentation of the willing of having It, an idea, or maybe at least different ways to read it.
- I started sending the last series I started to work on "performance registration, besides the individual ones "left sided", "untitled" "renovation".
I think the key of "performance registration" to me is the willing of making art, and the notation of that. "How to document the willing of making art"? Besides the act of doing it and the requiring of struggle in time and process related to this first intention of making art work. I try to create sketches of art work projects, Most of them are interventions on space. Putting things in and out of the frame, modificating the environment The series is an attempt of registrating proposals of intervention in space or registrating it. A documentation of the willing of making performance art.
- "attack x accident" is a diptych, two pictures with almost the same background with different burnt car in front of it.
The idea of it was the duality of the difference between an attack and an accident, and how they could produce same esthetical results. How close one thing is to another apparently, but is totally different on the meaning.
"One day at the window" 1 and 2 are double exposure pictures, one at noon and the other at midnight, total of 4 images, 4 days looking at the window.
It is a book of ideas of perfomatic works, art work projects. but the pictures are it´s documentation.
- "fields", is a very important series to me, and made me an automatically response to that was the white beaches "deep fields". I was in a residency program on Cardiff, and between my house and the gallery space there was a big loan with different sports lines crossing it. From criquet to rugby or football lines and goals on the grass, marks of suppose rules of how using this space, meanings of interpretations so the same space, indefinitely wondering around.
I was looking at the field as a place that is open to any kind of different use, as a blank space to fill, ad relating it to art work space, despite the
I did a series of very dark images (10, 70 x 189 each). The walls were painted black, and where the viewer could barely see the space or the marks at first, frame seems black, but with some time looking at it would reveal to the viewer, he would start to realize the field and the space. The dark green would become a field with lines and goals, reserved
Was an attempt to relate that field to art space, an aesthetical metaphor for the designated space for art work, or at least a bidimensional representation of it. The space to give meaning, aesthetically but also in a way of relation to 3 dimensional back ground.
- The background in art history images are strong reference point in my works, and some times its main theme. "The surroundings some times are more important than the foreground"
The next series I did was "deep fields", pictures of the white beaches at night, registrating a open space, free to use wishing, but also with some goals and lines, traces of the rules that really conduct and make it a public space, lighten at night but with black background.
The images of the the lighten beaches during the night represent the hole idea of constructing an image, is the blank background of white page, waiting you to full fill It, use that space. Give meaning to it.
Coefficient available is a series of portraits I did in the studio with very close people, friends, family, all silhouettes with some very dark details where you can’t recognize those close people by appearance, with a lighten background of the studio, the deep field, the lighting equipment as well as plugs and tripods. Relating the image to an aesthetical construction.
Left sided is a digital manipulation to make the columns look like falling left, is a documentation of mailing it look left when they were straight first. The landscape is the same, the only thing that is changed are the columns on foreground.
"No title" is a series were I also distort images, to make the signs squared, perfect rectangles, and to make you pay attention to them, but blank. The title was chosen to be a title. All the perspective are distorted to look straight.
The series "construction", 5 images, taken within same conditions, in different places represents a construction of a tall fee. The pictures look like if they were done together. Again a background and overall conditions make the pictures seem to conspire to build a single story of something real as a tall fee construction.
The series Narratives, I did in 2004 - 2006, Collages of thousand images, the name of each picture is the documentations of the period of doing the pictures to the collage. I did colleges of 180 degrees and 3 of 1080 degrees. Each image is named by the period I took to take all the pictures to rebuild it on computer, in reference for the scanning process, learning and perception of space. The one I sent took a whole afternoon, from 14: 00 to 19:00 pm.
I did Also videos in this series.
Content of Work
I started my visual through photography when I was 13 years old, and has been my main media until now, despite some incursions on drawing, small installations and video. It was very helpful to learn photography technique when I was young because it opened the possibilities to use it in different ways and also to migrate to digital image without longer difficulties. And also gave an independence to think photo and the idea of representation afterwards, when I already had learned technique.
My departure was photography and during some time I worked into media reflections, trying to reach the limits of representation with it, trying to understand how concepts like landscape or horizon could relate to the media of photography. I did a series called landscape, where traces of horizon could be barely seen, the idea was to take the most part of information from the photographic referent and try to leave in the image just the trace of a landscape.
The next step that came to me was to face photography as construction and to compare it to other Medias. I had an education based on painting, did some art history courses and they where all about painting and sculpture. Maybe I was trying to find things in common about the Medias, and the Ideas of the works I produced where mostly about that, about the possibility of an art space, of the frame, space that was designated to be the image space.
In 2004 I did a series of images called construction. Were 5 pictures all taken in deferent places but in similar conditions of lighting and fog, put them together and the result was that pretended to be the construction of a tall fee. Another series I did in 2005 was about a park in Cardiff, where a big loan with white lines for soccer, rugby and other sports fields. That was a place designated to some sort of use and the lines were some kind of instructions but not requirements for the use. I did a series of 10 panoramic pictures of the loan taken from above where the horizon is right on top of the picture that has mostly the loan and the lines for those sports. The pictures are very dark, so takes some time until is really possible to recognize something. That was part of an installation where the pictures were framed in black painted wood with all walls painted in black.
That was important to me because I realized that I wanted to humanize my art work and make it closer to a social discussion. My interests were on people, and how people relate to each other. The spaces I was constructing on images were spaces for human relations, despite the fact they were empty very often. But most important was that photography became a language and the interest of my work was not on the media anymore.
The main Concern of this application for me is to change ideas with people from different part of the world, that would help me in the project I’m developing in the moment called performance registration. It’s a series of images and drawings that aims to create a registration of fictitious art projects. The idea is to construct images that pretend to be a registration of a performatic art work on just a simple idea of an art work, such as videos, performances, sculpture, painting and so on.
I’m trying to explore the photographic media as notation to ideas of art work and use the language of photography in conversation with other Medias.
I’m looking forward to experience working with different medias as well, like drawing and to develop some more my video experience.
For that, the residency program would be fantastic because I would have a perfect environment to study and exchange with other artists and interested people.
I work in São Paulo with a commercial Gallery called Vermelho and that is a single experience with commercial galleries I ever heard from other artists or curators and maybe something that worth thinking of. I use to have a teacher, called Eduardo Brandão and he was also teacher on the university (FAAP). He use to teach in his house on Saturday mornings, art and photography history and to gather artists to discuss and propose projects. Came the Idea to open a gallery, a commercial space that would be a place for experimentation and development of art works. The gallery was projected by Paulo Mendes da Rocha to have a square in the front right in the middle of the two exhibition spaces and build gathering tree small houses. The square in the middle became a perfect space for performances, happenings, sound works and installations. The artists are free to propose projects and use the gallery space as if it was a public space, and to discuss their art projects with Eduardo still. Eduardo him self still proposes some collective shows. On those there were many meetings to discuss the proposal, to talk about the participant’s works, to discuss the format of the exhibition and so on.
Besides that there is still a new open terrace with open space for special projects.
I am mentioning that because I think art world became very commercial lately. My experience with art world started having in mind the modern artist as a reference and saw the price o art work increase significantly with years, all spaces here in Brazil are commercial spaces or public spaces. There’s never something in the middle of it and so strong as Vermelho.
Here in Brazil we have not much money from public spaces to commission art work, and the commercial spaces wouldn’t pay for art that doesn’t sells. This is a space for art that takes in mind both things in a good way I think.
Of course a commercial spaces needs to earn to exist, but the idea was a space for art first than a way to finance that. So it became very rentable because is a very serious art space.
I think that worth exchanging in the program. From the talks we have in the gallery, the exhibitions made by the artists, curating with the curator, and the mixing of public and private art space.