7 Deadly Sins – Expoziție de fotografie Garcia de Marina (Spania)

Garcia de Marina

Garcia de Marina utilizează obiectele ca modalitate de exprimare de mai bine de patru ani. Nu foloseşte editarea fotografică, ci elementele minimaliste pentru a aduce la viaţă imaginile.

În România, în urmă cu un an, autorul ne-a arătat felul în care a ajuns în lumea obiectelor și modul în care publicul ar trebui să „citească” fotografiile.

Anul acesta, în cadrul expoziției „Seven Deadly Sins” (7 Păcate Mortale), vom vedea un scurt proiect fotografic care ne vorbește despre cele 7 păcate mortale menționate în primele scrieri creștine.

Pentru reprezentarea oamenilor, Garcia de Marina s-a folosit de papiote de ață.

Află mai multe AICI.

Un proiect minimalist, așa cum ne-a obișnuit, încărcat de metafore, care lasă loc imaginației să zburde liberă.

Vernisajul va avea loc luni, 26 septembrie, la Education Point.

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Citește mai jos și interviul acordat de Gracia de Marina în limba engelză, publicat în nr. 23-24 al revistei Foto4all:

Garcia de Marina -an intreview by Cristina Țintă

 C.Ț.: How did you discover photography?

GdM: I discovered photography not long ago and by chance. Three years ago I bought my first reflex camera, and since the first moment I felt I had found something really special. I’m self-taught; I have read a lot to learn the photographing techniques.

 C.Ț.: What is photography to you?

GdM: For me, photography is the most powerful way to transmit an idea. It’s the magic of being able to immortalize what you have seen in your head.

 C.Ț.: I like it very much that you play with imagination and you tell stories. How did you discover your own creative language? Was it hard to reinvent the everyday reality?

GdM: Thank you very much. Since I began to discover this world, I tried playing with diferent elements, perspectives, frames… always searching the photography that could call the attention of the viewers. Little by little, I started to send images to different photography contests, always playing with the subjects in order to obtain an image that could imply a message to fit the contests themes.  Since childhood I have been a good observer, trying to find simililarities between objects. I’ve always been intrigued by little details, everyday objects, those which usually pass unnoticed before our eyes, even if they are present in our everyday life.

This search for similarities looks, in the first place, to atract the eye of the spectator, but ultimately it is a lure for imagination and also a vital call for attention in a really difficult economic and social context. My photography tries to oppose to this vertiginous velocity we live in, in this world of speed.

I use color in my images, but I will usually search for smooth colors, trying to get a certain harmony in the composition. What I want with these images is to make the spectator play with the imagination without using photographic retouching; I manipulate the objects, and I look for what I think could be the best way to shoot them. The most difficult thing in this process is creating the perfect scene in order to recreate the idea I have in my head.

 C.Ț.: How do ideas emerge? Did the camera help you see things differently?

GdM: I don’t have any special thinking procedure about a photograph. Ideas flow and emerge in the most unsuspected moments. Sometimes I see an object and the idea emerges; other times I’ve got the idea and then I search for the apropiate object to capture. In the most unsuspected moment and place a new project can be born.

Different factors could converge: a sentence I heard sometime ago, an object I found somewhere… anything can produce the spark for an idea. I take notes of those things that come to my mind and sometimes I would even draw a sketch. Other times the ideas are the final images or thoughts need to be polished until they come to an ending. My camera is a tool in recreating the idea that is in my head.

 C.Ț.: Which photographers or artists inspire you?

GdM: I don’t search for inspiration in other photographers. I like going to places where there are different subjects to see. If any of them suggest something to me then I can work with them. Sometimes I find subjects that I don’t know how I will use, but sooner or later I find a way to use them. Reading helps me a lot too.

 C.Ț.: What about the comparison with Chema Madoz? I’ve seen on a website or two people were saying that your work resembles a little to those of Chema Madoz.

GdM: Well, this is such an honor for me, but I think he’s really a great artist and we can’t be compared. When I started to take photos of objects and started to dig deep in this issue, I discovered that nowadays (and in the past too) there were important photographers playing with that as well.

C.Ț.: Why “the poetry of the prosaic” (poesia de lo prosaico)? It surely fits your images and stories, but how did you came up with it?

GdM: Everything started with Facebook. About a year ago, I created a page in that social network to show García de Marina’s work. My surprise was that I got 4.000 followers. One way to involve all this followers was a contest for finding the right name of my second exhibition. I had to choose one among all the suggestions received, the one that better fitted the essence of my photography. “Poesía de lo Prosaico” was the idea of a girl from Madrid and it identified my work. I try to make poetry out of something that, a priori, could seem bland: the everyday.

 C.Ț.: Do you have a favorite image among those from the series? Why is it the dearest?

GdM: All the images have something special for me, but I have to highlight the one where you can see an eggshell and a chicken’s footsteps. I feel really identified with this image because it reminds me about myself and the moment I bought my first camera. It was as if I was reborn, I began to see the things in a different way.

 C.Ț.: How would you define beauty?

GdM: I think the concept of beauty is very subjective. What is beautiful to me might not be for the others as well, and vice versa. For me, something beautiful and delightful to the eyes is something that implies harmony or makes you stare at it without being conscious of the passing of time.

C.Ț.: What is, in your opinion, the most important skill for a photographer?

GdM: I think the most important skills are to be able of observe things and know how to recreate an idea, a personality or a unique moment.

C.Ț.: Tell us all about your future plans. Exhibitions? Maybe an album? What next?

GdM: I continue working on new photographs. I don’t have anything finished for future exhibitions, yet; I would like these photographs to be seen in Spain and, in the future, abroad too.

I haven’t had any proposals for editing an album, but I think it will be a good idea.

 

 

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