bunker
Alma
Dice Roland Barthes que en el retrato debe existir ese tenue ombligo entre el fotógrafo y el ser, la esencia fotografiada. He ahí que exista esa importante diferencia entre el retrato de un ser humano y él de un objeto. La diferencia entre una naturaleza muerta y lo que viene a denominar el noema de la foto, el “esto ha sido”. El Kairos reflejado, el alma retenida, la verdad, la esencia. El proyecto que vengo a presentar consta de una serie de retratos realizados para distintos fines pero que encajan como piezas en el puzzle del retrato contemporáneo. Como pieza principal el retrato de “Eduart”. Realizado para cuestionar el género de Dios, ilustra de igual manera ese “Alma Aletia”, ese cordón umbilical entre el ser y la cámara, las sombras. El studium o puesta en escena que nos capta. Los Tableau vivant trasladados al siglo XXI. La fotografia lleva siempre un referente consigo, pegados el uno al otro, no podemos separarlos sin destruirlos.
Roland Barthes says that in the portrait there must exist that faint navel between the photographer and the being, the photographed essence. That is why there is that important difference between the portrait of a human being and that of an object. The difference between a still life and what comes to be called the noema of the photo, the “this has been”. The reflected Kairos, the retained soul, the truth, the essence. The project that I have come to present consists of a series of portraits made for different purposes but that fit together like pieces in the puzzle of contemporary portraiture. The main piece is the portrait of “Eduart”. Made to question the gender of God, it illustrates in the same way that "Alma Aletia", that umbilical cord between the being and the camera, the shadows. The studium or staging that captures us. The Tableau vivant moved to the 21st century. Photography always carries a reference with it, glued to each other, we cannot separate them without destroying them.
