2009 | six‐channel video installation in demicircle

The formation of visuality through makeshift optical devices, and the reconstruction of landscapes through these images lie at the core of the artist’s research. Here, animated sequences from photograms produced by pinhole cameras made of matchboxes create a panoramic view of Outeiro beach in Belém do Pará.

“The camera is just a tool in constructing a poetic language. A pinhole camera enables very close results to those of industrial cameras: images that attempt more and more to reproduce reality to perfection. Still I’m quite annoyed by the ideological discourse that seeks absolute image definition, and which accompanies the development of video or photography technology.”

“To that end, not only a handmade camera is a great tool, but using it to produce images that oppose that discourse is a conceptual attitude. Noise-image, open to chance and rough around the edges, is rather welcome on building an atmosphere that needn’t be a perfect illusion. These images work with different paradigms: time is no longer a frozen still, but rather a defrosting time in which image loses concreteness and volume and wanes into transparency and fluidity like dust in the wind. I am interested in this field of uncertainty that is a part of the language of images produced using precarious cameras.”

“The idea of movement stems from curiosity about how that other universe of images would work within the notion of cinema. What type of image in motion could I get? Because then I wouldn’t exactly be working under the cinematic logic of decomposing/recomposing movement. I work with photographic images that are not stills, they are dilations of time. It’s like reversing the logic of the device to see how it works. It involves a desire to explore the device, to push its limits, to question the standardized use of things, to subvert a certain order imposed by the devices themselves.”

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