17 8 176 8 6 (EVIDENCES) by Suffo Moncloa
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Suffo Moncloa
17 8 176 8 6 (EVIDENCES) by Suffo Moncloa
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Evidences is a curated collection of photos taken throughout five years. I have always remembered the reflective pause when I read Jonas Mekas’s book I Had Nowhere To Go, “The love of flowers is the love of children and poets… Poets can love unseen subtleties that they glimpse here and there, that are missing in the world but which they want to bring back into the world…”
The 79 photos construct a meditative journey. During the selection of photos from the archive, I came to realize the common threads of the abstract and the descriptive, the photographic and the plastic, and the natural and the technological intersects. It’s a dialogue, or dialogues between each photo, or photos. It’s based on subtle silhouette, often using a decontextualized language with evocations from form, color the implied mystery and also to the strength of its own nature. Narratives are direct with mother earth, the elements that make up our world and the idea of creating a timeless image. Additionally, I always wanted to include evidences from work process, dark room experimentation, reconstruction and results from recreation of the existing work in the book. They are the traces of those unique dialogues, either consciously or unconsciously. The idea of materiality stands, for me, the amusing aspect of photography. Its the game which gives birth to opportunities to interprete each image in different ways, and to moments when a vision can be transformed into an object, or something else. The object becomes permanent (in a relative sense). Combinations of those moments are capable to form realities and fictions belonging to our personal universe.
The 79 photos construct a meditative journey. During the selection of photos from the archive, I came to realize the common threads of the abstract and the descriptive, the photographic and the plastic, and the natural and the technological intersects. It’s a dialogue, or dialogues between each photo, or photos. It’s based on subtle silhouette, often using a decontextualized language with evocations from form, color the implied mystery and also to the strength of its own nature. Narratives are direct with mother earth, the elements that make up our world and the idea of creating a timeless image. Additionally, I always wanted to include evidences from work process, dark room experimentation, reconstruction and results from recreation of the existing work in the book. They are the traces of those unique dialogues, either consciously or unconsciously. The idea of materiality stands, for me, the amusing aspect of photography. Its the game which gives birth to opportunities to interprete each image in different ways, and to moments when a vision can be transformed into an object, or something else. The object becomes permanent (in a relative sense). Combinations of those moments are capable to form realities and fictions belonging to our personal universe.
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Description
Evidences is a curated collection of photos taken throughout five years. I have always remembered the reflective pause when I read Jonas Mekas’s book I Had Nowhere To Go, “The love of flowers is the love of children and poets… Poets can love unseen subtleties that they glimpse here and there, that are missing in the world but which they want to bring back into the world…”
The 79 photos construct a meditative journey. During the selection of photos from the archive, I came to realize the common threads of the abstract and the descriptive, the photographic and the plastic, and the natural and the technological intersects. It’s a dialogue, or dialogues between each photo, or photos. It’s based on subtle silhouette, often using a decontextualized language with evocations from form, color the implied mystery and also to the strength of its own nature. Narratives are direct with mother earth, the elements that make up our world and the idea of creating a timeless image. Additionally, I always wanted to include evidences from work process, dark room experimentation, reconstruction and results from recreation of the existing work in the book. They are the traces of those unique dialogues, either consciously or unconsciously. The idea of materiality stands, for me, the amusing aspect of photography. Its the game which gives birth to opportunities to interprete each image in different ways, and to moments when a vision can be transformed into an object, or something else. The object becomes permanent (in a relative sense). Combinations of those moments are capable to form realities and fictions belonging to our personal universe.
The 79 photos construct a meditative journey. During the selection of photos from the archive, I came to realize the common threads of the abstract and the descriptive, the photographic and the plastic, and the natural and the technological intersects. It’s a dialogue, or dialogues between each photo, or photos. It’s based on subtle silhouette, often using a decontextualized language with evocations from form, color the implied mystery and also to the strength of its own nature. Narratives are direct with mother earth, the elements that make up our world and the idea of creating a timeless image. Additionally, I always wanted to include evidences from work process, dark room experimentation, reconstruction and results from recreation of the existing work in the book. They are the traces of those unique dialogues, either consciously or unconsciously. The idea of materiality stands, for me, the amusing aspect of photography. Its the game which gives birth to opportunities to interprete each image in different ways, and to moments when a vision can be transformed into an object, or something else. The object becomes permanent (in a relative sense). Combinations of those moments are capable to form realities and fictions belonging to our personal universe.
Author Bio
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