sábado, 21 de junio de 2014

Correspondencia con Carolina Krieger.`Com os pássaros´.


                                               20 de junio de 2014
Mireia querida,
Como vai?

Segue em anexo as fotos e o texto:

Muros agudos
Iguais à fome de certos pássaros
Descendo das alturas

Hilda Hilst.



 Com os pássaros

 
O ensaio surgiu a partir de um processo interno de questionamentos, sensações, experiências e tomadas de consciência. Desde criança, a vida, o humano, o efêmero, a morte, enfim, o mistério de todos os mistérios, me fascinou. Toda esta bagagem de repente veio à tona, foi assim que eu descobri o meu tema, para mim cada ensaio é um fragmento de uma história maior, como versos de uma única poesia.
 

Em “Com os pássaros" eu proponho uma reflexão sobre como lidamos com a morte no cotidiano. Sobre as defesas de caráter que adquirimos para nos proteger da certeza violenta de que somos finitos. Pensamentos corriqueiros, apegos diversos, projetos e até mesmo sonhos que camuflam o oco inerente que a fugacidade da nossa existência nos causa. E sobre como tais escudos, geralmente espessos demais, em contrapartida nos paralisam diante do tênue, do oculto, de uma eternidade subjacente.

 
Muito obrigado!
Beijos,
Carol.

http://carolinakrieger.tumblr.com/

Light. Painting and Photography. Testimonios: Sascha Weidner


Sascha Weidner

                                               18 de junio de 2014.


Dear Mireia,

It is the light that seems to be changing into a subtle, beauty, almost absent from the world. It leads us to objects and people to that interzone of our dreams and confronts us there with our deepest fears and hopes. It is the stroke of light, the cast of a shadow that transforms the hand in front of the camera into a meritorious something. It is the light that seems to crawl along the floor until it reaches something. The fragmentary representation of the space, which functions here as a stage, is replete with a shocking emptiness. The light soberly lights up the scene of the collision where two people wait for assistance, as if they never have done anything else. Elemental forces blaze on the distant horizon. And in the form of a universal power, it flies like the canopy of the sky towards the male figure – exploding the classical image of the romantic and contemplative figure as viewed from behind. His protective gesture is revealed as one of powerlessness too: the structural uncontrollability of the self is continued on the naked body. This is perhaps the fundamental theme of all my works: human existence is projected into beauty. It is confronted with images, of which beauty is a component, which it produces, destroys and then retreats from. A quiet melancholy pervades these images, as does an ardour that rejoices in life.

I draw no distinction between photography and life; my color pictures are not hastily taken snapshots but carefully constructed compositions. The images blur the line between mise-en-scene and authenticity, between the posed and the natural. Light and shadow, too, are deliberately placed to accentuate the often unreal, sometimes deeply evocative atmosphere of reality.

The images evoke paintings by the romantic painter Caspar David Friedrich or Caravaggio and the fondness for romanticism in the photographs is revealed; we perceive a figure in the photograph, continuing the theme of being lost. Everything refers to life’s constant changes and renewals; it´s all connected somehow.

The images evoke paintings by the romantic painter Caspar David Friedrich or Caravaggio and the fondness for romanticism in the photographs is revealed; we perceive a figure in the photograph, continuing the theme of being lost. Everything refers to life’s constant changes and renewals; it´s all connected somehow.
http://www.saschaweidner.de/