The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

The images were captured in Paris at night with the Eiffel Tower all lit up, during a meeting of percussionists and fire torch jugglers. They reveal the artist’s movements, while interacting with stimuli brought about by the sound, the lights and the performances. It is a record of interactive experience between subject and environment, “an inverted performance”.

ALIVE, single channel, loop video, 1'37", 2009. Video selected by the Jury of the 5th FASM Video Show in partnership with the Videobrasil Cultural Association.

LIVE Paris 2, single channel, loop video, 2'06", 2009.

Walking Series

W Field 1B-1, Walk series, loop video, 1'57", 2008-2011.

W Field 2B-3, Walk series, loop video, 2'04", 2008-2011.

W Field 4B, Walk series, loop video, 2'15", 2008-2011.

W Paraty B, Walk series, loop video, 1'03", 2008-2011.

P Paris 1B, Walk series, loop video, 1'40", 2008-2011.

P Paris 2B, Walk series, loop video, 2'02", 2008-2011.

P Sampa 1B03, Walk series, loop video, 2'29", 2008-2011.

P Sampa 2B03, Walk series, loop video, 0'39", 2008-2011.

Views Series

V Field, Views series, loop video, 0'47", 2008-2011.

V Garden, Views series, loop video, 1'04", 2008-2011.

V Sampa 4B03, Views series, loop video, 0'45", 2008-2011.

V Sampa 5B02, Views series, loop video, 1'32", 2008-2011.

In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the visuality of macro and micro situations.
Compositions Series

C Do, Compositions series, loop video, 5'26", 2008-2011.

C Re, Compositions series, loop video, 2'45", 2008-2011.

C Mi, Compositions series, loop video, 6'06", 2008-2011.

C Fa, Compositions series, loop video, 5'55", 2008-2011.

C Sol, Compositions series, loop video, 4'42", 2008-2011.

C La, Compositions series, loop video, 4'38", 2008-2011.

C Si, Compositions series, loop video, 4'23", 2008-2011.

Free Table

Free Table, single channel, loop video, 5'33", 2008-2011.

CH1-25, Robes series, loop video, 1'06", 2008-2011.

CH2-20, Robes series, loop video, 0'59", 2008-2011.

CH2-300, Robes series, loop video, 0'37", 2008-2011.

CV-100-Z, Robes series, loop video, 2'20", 2008-2011.

CV1-30-Z, Robes series, loop video, 1'09", 2008-2011.

CV1-100-NZ, Robes series, loop video, 1'05", 2008-2011.

CV2-30-Z, Robes series, loop video, 2'18", 2008-2011.

CV2-100-Z, Robes series, loop video, 1'50", 2008-2011.

Parallel Verses Series
O1 verse, loop video, 4'48", 2008-2011.

O2-1 verse, loop video, 5'02", 2008-2011.

V1 verse, loop video, 5'02", 2008-2011.

V2 verse, loop video, 5'02", 2008-2011.

There is an apparent contradiction between the term photography and the notion of dynamism. Would there be a place where photograph and video (or film) could meet, a common midway, an overlapping strip?
Photography is a strait manifestation of the fleetingness of time. No matter how long the shutter opens and releases, however long the action time is embedded in it, there is a temporal flattening summarizing the entire event to a minimal temporal fraction. Registering it, puts it in the past, freezes the movement. Photography is direct and incisive. Its power comes from the radical cut at the moment of the clicking act, from the subtraction of a space-off, which causes a concentration of the whole event in a single instant.
The conception of those moving images situated through the conceptual bias, between photograph and video, called dynamic photographs by the artist, was motivated by experiences with pause and movement, and its relations with space and time. They consist of a continuous stream of non-narrative images that require the eye to take a time to grasp. They do not represent or suggest movement, but present it. The focus of interest is the possibilities of convergence that include both categories (photo and video or film), much more than the boundaries that separate them. Dynamic Photographs, however manipulated they may be, they retain a referenced point of origin in the physical world. Similarly to photographs, they propose a concentrated suspension situation without the escape space-off. The fixed pose, the absence of plot, the constancy in the image and its permanence achieved with the loop, bring them closer to the concept of photography. In turn, they are kinetic, not only because they are technically in the video category, but because they fall within a temporality in which a rhythmic, a vibration, a ripple and constant movement is present.
Sound is a valuable indicator of the source of its origin and the configuration of the space where it happens. But it has also a poetic dimension. The sound of these digital images comes not only from the audio itself, but also from the visual musicality provided by the synesthetic quality of the images. Those aspects enlarges the sensory potential of them and expand the sensible experience.
This project comes from the desire to work in interstitial zones. The manipulation of digital images in the editing process updates the pictorial gesture and allows merging reality and fiction. With their hybrid and undefined nature, they are like bridges between the physical and the imaginary world. They are located in an intermediate territory between painting, photography and video. Due to their unusual pace and ambiguity in their expression, they cause a strangeness, a break in the routine temporal flow, and thus favor a more intense sensory experimentation. They aim to poetically subvert spatial-temporal constraints and propose perceptual situations of a present, suspended and extended time.

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