Author: Patricia Amorim
Title: But there is one thing that is called love ...
Size: 30 X 45 cm
Technique: Photography / Technique B & W (Black and White)
Violence is the absence of love, of love for life, for people and for oneself. The abandonment of one's identity by virtue of one's neighbor. We are judged and sentenced by the cameras that watch us all the time and by the looks of others.
Much of the representation of the human body, today and throughout history, reflects a cultural pattern of society. This body becomes a political device, a form of social organization.
Often, the human body was conceived as a resource for judgment and punishment, or a form of control. An example is the army that restricts the body within certain patterns of behavior as well as form. The vision of the human body as a machine arose from the eighteenth century, with the influence of the Enlightenment. According to Foucault, in Docile Bodies, the organization and conditioning of the body in the eighteenth century was a matter of etiquette for the court, for example, the corset, used as a device to manipulate a woman's body.
The body directs our gestures and behaviors, for which we are judged, since it governs our social relations. Nowadays, the woman's body is the tool in which the power of sexuality is practiced, consumption as a means of social communication in the body.
There is, it seems, a considerable difference between the facts of treating the body of the other as a sculpture or consider it as a doll that you can wear and undress. This male behavior is well known. The woman's body is put into play depending on the fantasies of men, thus trying to satisfy their desires. Similar scenic construction may soon show signs of exhaustion, lack of imagination, and the female body is not itself, but the object of desire and stereotypes of excitement (Jude 2002, p.14).
The female body has the question of pleasure and aesthetics. There is a concern with appearance, theatricality and sympathy.
The nakedness itself reflects the violence, the fear of being exposed and showing its secrets, its afflictions and anxieties. In fact, hiding the body in a shell is our own externalized morality and decency.
Each organism has its stories, marks, tears, joys and all takes the fascination of human forms.
My work begins with a study of the body through the photographic record. An exploration of the capture of this through the photographic language. Investigating the body through the photographic image as a form and a strange and familiar surface at the same time. Working with the shape of the human body through the technique of B & W (black and white) and using digital and analog equipment for this.
Photographs are an investigation of the human body from an unusual angle. I capture body parts by taking photographs from the bottom up and from the top down. Looking for a new visual view of the human body.
The motivation in investigating the human body came from the perception of not knowing my own body as a whole through my eyes. The only impression I had was mediated by the mirror, (which shows a reverse image of it), and / or from another person.
The female body was chosen because it was the human body dominantly approached through art history and due to the eroticized look of the commercial media (television programs, fashion magazines, etc.). More than this, the body of women culturally carries the question of carnal pleasure and an idealistic aesthetic. In our patriarchal society there is a constant concern for appearance, and a theatrical and pleasing posture. This body is targeted by manipulation and a quest for perfection.
My idea about producing an image through the camera takes into account the composition made by position and movement of the body. These images create a surrealistic air, which cause surprise and strangeness to the viewer. I intend to create a surprising and new image of the body, so that people should think before they understand what the image represents.
BENJAMIN, Walter. 1980. The work of art in the era of technical reproducibility. São Paulo: Cultural April.
BRAUN, Fernando. 2000. Surrealism and photographic aesthetics. Rio de Janeiro: 7 Lyrics. Photography Collection Poche, 12. 1983.
Foucault, Michel. 1983. Docile Bodies. In: ________. Watch and punish: birth of the prison. 2 Petrópolis Edition: Vozes.
FRIZOT, Michael. A New History of Photography. In: ARTICLES. Available at: <http://www.masters-of-photography.com/B/brandt/brandt.html>. [Accessed November 23, 2012].
JEUDY, Henri-Pierre. The body as an object of art. São Paulo: Liberdade Station, 2002.
PHILLIPS, Lisa. 1993. photoplay: Works of the Manhattan Chase Collection. The Chase Manhattan Corporation, New York.
SONTAG, Sontag. 2004. About Photography. São Paulo: Companhia das Letras.