THE PORTFOLIO PROJECT | thinking photography differently: Recently Added Galleries and Collections

JAMES KNIGHT-SMITH | A Series of Moments

Fri, 18 May 2012 00:00:00 GMT

]]>I have always found the beauty of the ocean both inspiring and difficult to capture in one decisive moment. Living, breathing, constantly moving, the sea is dynamic and never the same. To capture this eternal ebb and flow, I use movement and long exposure to record a number of moments that evoke and portray the scene as one single image. This creates an almost diaphanous layered effect. With no primary focal point, the viewer is better able to feel and become one with the infiniteness of the ocean. This allows me to represent a solitary moment of the sea’s perpetuity.
The photographs that comprise A Series of Moments are an expression and visual communication of my emotional connection to the ocean: the peace it brings, the moments of intense clarity, the completeness I experience when gazing for hours on end at the subtly shifting colours and movements.

James Knight-Smith is best known for his commanding photographic portrayals of the ocean and her many moods. Knight-Smith has won numerous international photo competitions and his work hangs in private homes throughout Australia and the US. After receiving his university degree in Engineering, Knight-Smith was soon dividing his time between his career and his two passions – photography and the ocean. As his work made the natural progression from panoramic images of landscapes to the more abstract images of the ocean we see today, international recognition, awards and citations quickly followed.

website | http://jknightsmith.com

BOOKS |

Fri, 18 May 2012 00:00:00 GMT

]]>Colecção REFLEX

[PT] Há fotógrafos que mergulham no silêncio das imagens, outros que encontram na escrita uma linguagem mais do que perfeita para discursar sobre a sua prática. Por isso criámos esta colecção de livros de fotografia, onde fotógrafos reflectem e discursam sobre fotografia, revelando que, independentemente da linguagem, o mais importante é sempre o pensamento.

REFLEX Collection

[EN] There are photographers who plunge into the deep silence of the images, while others find in writing a perfect tool to communicate about their practice. Therefore we have created this book collection, where photographers reflect and speak about photography, revealing that, regardless the language, the most important is always being able to think.

PHOTOBOOK Club Lisboa |

Fri, 18 May 2012 00:00:00 GMT

]]>O Photo Book Club Lisboa é uma organização conjunta do THE PORTFOLIO PROJECT e da IMAGERIE - dinamizado localmente pelos fotógrafos Magda Fernandes, Mário Pires e Susana Paiva, tendo como objectivos a promoção, reflexão e discussão em torno do livro de fotografia.

A sua missão é a de promover o livro de fotografia enquanto forma particular de discurso fotográfico, convidando fotógrafos, galeristas e editores a apresentar os seus livros de eleição.

PRÓXIMO ENCONTRO | 4 de Maio | das 19h às 20h30m | IMAGERIE-Casa de Imagens | Lisboa

O primeiro livro a ser apresentado e discutido no PHOTO BOOK Club Lisboa será a obra "End time city" de Michael Ackerman.

CATARINA ALARCÃO | Rostos de um tempo que não é o nosso

Fri, 18 May 2012 00:00:00 GMT

]]>Durante dois anos viajei pelas feiras medievais de Portugal. De Norte a Sul fui procurando rostos e encontrando personagens de um tempo, que não é o nosso.
Rostos de crianças, de jovens, de idosos. Uns alegres, outros tristes. Por vezes pensativos, ou talvez contemplativos. Alguns, apenas brincando com as personagens que encaravam.
Não queria apenas carregar no botão e fotografar aquele, ou o outro, momento. Queria antes interagir com as pessoas, talvez até mesmo ser, por breves momentos, as personagens que representavam.

Catarina Alarcão

HUGO COSTA MARQUES | Construir

Fri, 18 May 2012 00:00:00 GMT

]]>“Construir...”
...a sua presença a sua identidade.

Não se trata aqui do sentido primeiro atribuído à fotografia, quando surge no início do séc. XIX, com o fim de reproduzir objectivamente a imagem real, mas podemos entender sob a perspectiva de Pierre Francastel acerca das interpretações da imagem, apresentadas nos textos em “ Imagem, Visão e Imaginação”. Na introdução, redigida por Galienne Francastel, é possível ler “Não parece, contudo, haver dúvidas de que já estamos numa era de mutação da técnica e de que, além disso, a manipulação da imagem, ou o que já se chama vulgarmente a imagem da imagem e a imagem na imagem, seja uma das variantes na tendência geral para a desorientação dos espíritos, pelo desvio ou abandono dos critérios “racionais “ tradicionais.” (Francastel, Pierre, 1986 “Imagem, Visão e Imaginação”. Edições 70, p.9).
É sob esta perspectiva que a recolha fotográfica ganhou contornos, permitindo que o espectador percepcione a imagem, segundo três níveis: o da realidade sensível, o da percepção e o do imaginário.
Este trabalho, para além de ser uma recolha fotográfica, propõe-se a um exercício com a própria imagem, isto é, a fotografia multiplica-se, recorre às novas tecnologias e assume aqui um papel actual no que se possa entender sobre a obra de arte. A exploração técnica a partir do registo ganhou imponência, estabelecendo um paralelismo com a própria fábrica.

Hugo Costa Marques

HUGO COSTA MARQUES | “Ontem não será hoje...”

Fri, 18 May 2012 00:00:00 GMT

]]>A intenção aqui expressa tem a ver com a carga de símbolos necessária para exprimir a República:
A possibilidade de ter direitos civis e o grito de mudança e organização corporativa para derrubar o Poder/Governo vigente.
A capacidade de grupos /massas populares mostrarem o seu desagrado pelas políticas de Estado.
Imagens sobre os dias de hoje onde glorifica os tempos de glória de cada um dos espaços. Explorando formas de comunicação urbanas presentes em símbolos, desenhos e outros, apesar de inseridos num contexto urbano moderno têm semelhanças com as formas de comunicação primitivas.
Contar uma história com as palavras e os símbolos.
Um olhar critico sobre a sociedade moderna.
Um simples registo para explorar a memória da identidade de todos nós, registando o presente sem entender por onde devemos começar e repensar o que está a ser questionado.

Hugo Costa Marques

ANA CATARINA PINHO | Symbolic Landscape

Fri, 18 May 2012 00:00:00 GMT

]]>The Symbolic Landscape is a visual propose which it's objective is looking at the landscape as a human intervention showed in many different amplitudes whether, being plural, thought for a overall from a general and organizational point of view, whether being particular, made on a micro-scale, which happens in a private space like a construction of individual and particular landscape.
These two perspectives: global and particular, are naturally linked, because one is the result of another and both are compulsory at the same space and time, still on photographically way diversified.
The vagueness of landscape becomes the reason of its existence because it is a concept that shows its permanence on contemporaneity.

Paisagem Simbólica

A Paisagem Simbólica é uma proposta visual cujo objectivo é pensar a paisagem como uma intervenção humana, manifestada nas mais diversas amplitudes, quer sejam plurais, pensadas para uma globalidade, sob um ponto de vista organizacional e generalizado; quer sejam particulares, construídas numa micro-escala que se desenrola no espaço privado, como construção duma paisagem individual e singular.
Estas duas perspectivas: global e particular estão naturalmente ligadas, pois uma é consequência da outra e ambas situam-se, obrigatoriamente, nos mesmos espaço e tempo, ainda que diversificadas fotograficamente.
A indefinição da paisagem torna-se a razão da sua existência, pois trata-se dum conceito que marca a sua permanência na contemporaneidade.

Ana Catarina Pinho

ANA CATARINA PINHO | Nomads

Fri, 18 May 2012 00:00:00 GMT

]]>The search for something new or different implies the need to change. It doesn’t matter if it’s a positive or negative change, it will always be a shift on personal habits and routines.
Nomads represent, visually and metaphorically, the relation between the search for a change and it’s inherent consequences. This photographic series translates the fine line between the search for a better future and the tough process of adaptation - by impersonating the classical portrait aesthetics- and its consequences- through the imperfection and disturbing details represented by the bruises on each model.

A busca de algo novo ou diferente implica uma mudança que, seja ela positiva ou negativa, representa uma alteração nos hábitos e rotinas pessoais.
Nomads representa, visual e metaforicamente, uma possível relação entre a procura de mudança e as consequências que lhe estão adjacentes, por intermédio de uma série fotográfica que aproxima uma estética clássica de retrato à imperfeição expressa pelas marcas físicas dos retratados.

Ana Catarina Pinho

MULTIMEDIA |

Fri, 18 May 2012 00:00:00 GMT

]]>

RICARDO FIGUEIRA | Rostos: Portraits of Portuguese people in France

Fri, 18 May 2012 00:00:00 GMT

]]>"Rostos: Portraits of Portuguese people in France" is a joint work by Ricardo Figueira (photographer) and Elisabeth Machado Marcellin (social scientist). Half a century has passed since the first big wave of Portuguese immigration to France. We have decided to take a look at some members of the community, trying to include people of different ages, regions, professions and social layers, without pretending to make an exhaustive sociological work guided by strict rules.
We have included representatives of the first wave, some young newcomers and members of the new generations who were already born in the country. Based upon their duality of cultures/references, we asked ourselves (and we asked them) what unites them, what does it mean to be Portuguese. We confronted each one of them with the clichés that exist concerning the Portuguese, without wanting to confirm or deny these clichés. Basically, this work is the result of an encounter (between the authors) and the result of encounters, in plural, with some of our compatriots we met during our personal and professional lives in France.

"Rostos: Retratos de portugueses em França" é um trabalho conjunto do fotógrafo Ricardo Figueira e da investigadora em ciências sociais Elisabeth Machado Marcellin. Meio século passado desde a primeira grande onda de emigração (ou imigração, dependendo da perspectiva) portuguesa para França, decidimos lançar um olhar sobre vários membros da comunidade, tentando construir um universo de várias faixas etárias, profissões, regiões e camadas sociais, sem contudo ter a pretensão de fazer um trabalho sociológico que obedeça a regras de representatividade estritas. Aqui cabem emigrantes da primeira vaga, jovens recém-chegados à procura de uma vida melhor e representantes das novas gerações nascidos já em território francês. Com base na dualidade de culturas e de referências, perguntamo-nos (e perguntámos-lhes) o que os une, o que significa ser português. Decidimos confrontar cada um deles com os clichês criados em redor do português, sem querer confirmar esses clichês mas também sem os negar. Este é, acima de tudo, um trabalho que nasceu de um encontro, entre os dois autores do projecto, e de encontros, no plural, que fomos tendo com os nossos compatriotas ao longo da vida pessoal e profissional em França.

JOÃO MIGUEL BAPTISTA | Me, Myself and I

Fri, 18 May 2012 00:00:00 GMT

]]> Some time ago I recovered a Polaroid camera in my parents basement`s house. I had purchased it in the 80`s. I shortly photographed with it at the time, when was fashionable to do so. I was more interested in literature and movies than taking pictures.
What fascinates me in polaroids are the snapshots. A quick button press and the image is printed right away. Almost magical. Me, Myself and I is a set of small events, fragments of everyday life. My photography is a intimate diary, a reflection of me shared with others.

Há algum tempo recuperei uma câmara polaroid na cave da casa dos meus pais. Tinha-a comprado nos anos 80. Pouco fotografei com ela na altura em que era moda fazê-lo. Interessavam-me mais os livros e os filmes do que a fotografia.
O que me fascinou nas polaroids foi o seu registo imediato. Um rápido pressionar de botão e a imagem é impressa no momento. Quase mágico. Me, Myself and I é um conjunto de pequenos acontecimentos, de fragmentos da vida de todos os dias. A minha fotografia é um diário íntimo, um reflexo de mim partilhado com os outros.

João Miguel Baptista

website | www.joaomiguelbaptista.com

MÁRIO PIRES | Off duty

Fri, 18 May 2012 00:00:00 GMT

]]>

MÁRIO PIRES | Coimbra-C

Fri, 18 May 2012 00:00:00 GMT

]]>

MÁRIO PIRES | USL-Vol1

Fri, 18 May 2012 00:00:00 GMT

]]>

ALBERTO DE LA CRUZ | Ballet Nacional de Cuba

Fri, 18 May 2012 00:00:00 GMT

]]>Perfection in motion, silhouettes gliding through the air, body shaped music, soul-shaking dance.
It's tough to explain your feelings while watching them dancing, the sweetness of unbelievable movements, the softness of a feather surfing the air.
During my photography studies in the "Recamara.com" I had the chance to enjoy a day of work with the "Ballet Nacional de Cuba".
It was the lights and the shadows, the colours embracing their fight against the gravity which triggered my camera's shutter;
I just enjoyed those geniouses of the body in motion.

La perfección en el movimiento, siluetas deslizándose por el aire, música con forma de cuerpo, danza agitando su alma.
Es difícil explicar lo que se siente al verles bailar, la delicadeza de movimientos inverosímiles, la suavidad de una pluma surcando el aire.
Durante mis estudios de fotografía en la Recamara.com tuve la suerte de poder disfrutar de una jornada de trabajo con el Ballet Nacional de Cuba.
Fueron las luces y las sombras, los colores que acompañaban su dura lucha con la gravedad lo que hizo que el obturador de mi cámara se accionase, yo, solo disfruté de esos genios del cuerpo en movimiento.

JORGE PEDRA | Urban Walls

Fri, 18 May 2012 00:00:00 GMT

]]>These pictures of mine pretend to be very urban, acting like a portrait of the city – almost any city.

I began photographing the grafitti and "posters" on the walls of my home town, a fairly common procedure in art and photography. Then I decided I could go further and obtain objects that were interesting plastically, working on the slides, scratching, painting, or even burning or melting them. Sometimes I also use coloured or transparent paper and stick it on the film. In a next phase of the work, the film is scanned and lambda prints, 40 inches across, are produced. I also use aluminium to print on or even canvas; in that case, again, the canvas is painted in order to obtain the final effect.

CATH.AN. | Le temps de la promesse + Là où j'ai cru te voir...

Fri, 18 May 2012 00:00:00 GMT

]]>Cath. An. works between Nantes and Paris, where she was born in 1981. She found her niche in art history, then architecture from where she got a degree. Her native land is a land of sentences picked up along the books she read or the walks she had. From these, she extracted, in her own special way (maybe due to her Croat origins) poetry. She lives on words ; she lets them settle in her mind, under the shape of some writings or some photos. She turns these gushing emotions into photos. Cath. An. has learnt from her architecture studies precision in constructing anything – whence her «series» which are playful variations of lines and shapes. The core of her quest is in her will to suggest a presence by the absence of a subject. And especially because she wants to share what she feels from the quivering behind appearances under the veil of light.

Catherine SIMON

website| www.photographe-cath-an.com

CYRIL REZÉ | Parking' Colors

Fri, 18 May 2012 00:00:00 GMT

]]>Cyril Rezé lives and work in Nantes (France).
Graphic designer, web designer and freelance photographer.

" There is a wonderful paradox in Cyril Rezé’s photographs. They tell us about our own human condition with great intensity while the shape of a body is rarely represented. By reveling the hidden beauty of abandoned places and locations we go through without really seeing them – using a detail, often lost in an iridescent reflection, as an entrance point for his pictures – Cyril Rezé makes possible the contemplation of a world that would have been lost to us without him. For this crumbling and unraveling world that is dissolving in intense colors and diffuse contrasts is indeed ours. We only needed an eye to discover it. "
Jean-Daniel Mohier

website | www.cyrilreze.com

HEIDI ROMANO | Am waldes rand (Forests edge)

Fri, 18 May 2012 00:00:00 GMT

]]>Initially these images were part of a five-year investigation into the forests of the world. But over time they made me look differently, because behind their great complexity and careful composition, lies a secret.

Photographically I have always been interested in time and how we perceive change. These images illustrate the change of light, the changing direction of the wind and the force of the weather. We see a forest and imagine adventures - dream of discoveries, secret paths, laughter, or playing hide and seek. Yet sometimes a small piece of information dramatically influences the way we perceive, the way we look.

When I took these images I had no intention of documenting a crime scene, but when I unintentionally did, the forest transformed into a dark, mysterious place that spoke of hiding under rocks and escaping the country, of police searches, sirens and helicopters.

In its silence I thought of loss, heartbreak, and the crime committed by a friend - father of a little girl and partner to my best friend.

Short Biography |

Heidi Romano is a fine art photographer and founder of UNLESS YOU WILL - a bimonthly international photography journal that showcases a vision within photo-based art. Her own work challenges the perceptions and expectations we have of our surroundings. Presented in an abstract & minimalist style, her photographs play with ambiguity, while conveying a sense of stillness and isolation.

website | www.unlessyouwill.com | www.talesoflight.com.au/

ELISE BOULARAN | Enigma

Fri, 18 May 2012 00:00:00 GMT

]]>Pictures full of ellipses and silences, dislocating to the enigma. Using tirelessly ambiguity, telling us the privacy. The debris of your memory are picked to be thrown light. Then, the story can be told, true or false… whatever. A memory showing an intimate sphere where human disorders reign; inner fits can be told. My concerns are brought to the human reality of our time. Tirelessly trying to translate the human’s secrets, I reveal what can be private for someone. Through my work we can discover photographs impregnated with ambiguity. Preferring a picture to decrypt than a picture given which is already here, a resistant picture in a way. We can see a research of ambiguity in the pervasiveness of the bodies and in their weakness. Trying another narrative form, like these silent bodies which do not reveal everything. A narrative form that cannot be put in a time space or in a traditional space. It means, taking photographs without giving them a definitive meaning, to be facing a silent privacy. How to make visible through the photography what is hidden, how to highlight this invisible and dumb gesture? This reflection is always corresponding with my photographic work. We are talking now about a kind of parallel reality, an interstitial territory which ignores geographic spaces and political systems, which belongs neither to a reality quite true nor a fiction consciously developed, but is rather enriched by its own rituals and rules of conduct where the distinction between good and evil, happiness and sadness, innocence and perversity, reality and fantasy, fade. These images have in common the evocation below and beyond the assertion, the suspension of action for the expression. This work does not flee the world, but intends to build an interpretation, where something dumb and indefinable is really present. The characters here are not in action, they are like bodies vaguely absent themselves. Portraits where opacity and strangeness resist. Everything happen as their assignment (referential, spatial and temporal) was stopped for a while, as isolated from the world of appearances. So we find in these photographs the utopia of a suspended time and the cruelty of a relapse sensed. The photography is, it is known, the special instrument of this temporal ambiguity. I use ambulation as a creative process. I seek to have, throughout my approach, a perceptual and poetic attitude faced with reality. Wandering, or, we could say, an intense and slow aspiration led me to these places dilapidated, full of history. These places are like equivalents of the body. Most are representations of a melancholy state of mind rather than portraits of specific places. These places are used somewhat as the timeless backdrop of intimate dramas, which are transformed to a garden that retains traces of small personal stories. These images attempt to echo the reality of our time with a melancholy tone surely as a consequence of social evolution, basically characterized by the loss of community.

website | www.eliseboularan.com

THOMAS BELLANGER | Athènes

Fri, 18 May 2012 00:00:00 GMT

]]>Succession d'espaces aux apparences similaires mais possédant leur singularités. Athènes se révèle nouvelle à chaque échelle. Ordre microscopique ou chaos macroscopique, ce désordre homogène observé depuis le lycabette est aussi doux et apaisant que la mer à ses pieds. Formes et couleurs se déclinent dans un éventail restreint de dégreadés, renforçant le contrast avec ses quelques excenticités.

website | www.bellanger.tumblr.com/

LUKA BRASE | Art on the way

Fri, 18 May 2012 00:00:00 GMT

]]>First idea was based years ago when I left my country (Czechoslovakia) and went to Ireland to look for new horizons. A new place to live and new inspiration as well. In a first moment I started to work a lot with spaces around me. Capture him to first drawings from Irish period. As time goes I did a lot of work and start look for another level. I followed more things in the city of Cork, specially the old man captured in my photos. This all happened in a 3 years period. We saw each other in a park a street, in front of a very rich Bank, which was a very sharp contrast. The fancy building of the bank and his old clothes, which he was wearing for already 3 years. His face, body, all movements did presented every fight of the Irish people, all the poorness and religious wars.
The Pieces I made are reflecting the past and history of Ireland in contrast with the future.

Website | www.lukabrase.nl

VIRGINIE PLAUCHUT | Altera + Le Messager

Fri, 18 May 2012 00:00:00 GMT

]]>Photography as obviousness. Over time, the themes become clearer, I explore and wonder about humans. My approach is more narrative, I create a universe of out-of-frame stories. Where the human is ubiquitous... I love this link that photography and intimacy share and nurture. I intend to show these internal exiles, these live's added features, this myriad of beauty in everyday's life.

"Virginie Plauchut uses reality to say something new. Sometimes it sailing, overexpose the subject. She plays with light as the painter with the color. The pictures she keeps whispering secrets."
Ileana Cornea

"Every series is a narrative dimension, Virginie tells and tells stories and gives the series a cinematic camera. She said the photograph seals the time in the image, then opening a space for contemplation, an interior space. And there is indeed something about the intimate consciousness of time, idle time, in parentheses, subjective, a time of dreams and the observation time of abandonment, too, in the atmosphere bathing the photographs that seem to resist the frenzy of the world. A kind of slow but certain resistance against time pressed. In this context the work of Virginie Plauchut is centered around notions of intimacy, introspection, loneliness or even camera. The
search for meaning through his photographs is arguably the exploration of the human. And nature, often present in mystery, from earth to heaven, taking shape as a topos soothing and peaceful, tranquil mirror, guide and index of introspection possible. In an elegant confines of nostalgia and dreams, photographs Plauchut of Virginia, and all their own way, exploring the territories of the endless confrontation sweet
or bitter, and existential, the subject with the world."
Marie Deparis Yafil

Website | www.virginieplauchut.com

EMMANUEL CORREIA | Temps de pose

Fri, 18 May 2012 00:00:00 GMT

]]>Je suis né à Dijon (Bourgogne - France) en 1971. Je vis actuellement dans le Morvan près de Saulieu. J'ai commencé à faire des images trés tôt influencé par un environnement familiale très artistique. D'abord le dessin, la peinture, l'image de synthése et enfin la photographie. Je n'ai pas de formation artistique "classique", je n'ai pas fait d'école d'art. J'ai commencé par la peinture et la photographie à l'âge de treize ans, puis j'ai continué par l'infographie à l'époque de la démocratisation des ordinateurs familiaux. Je travaille essentiellement avec les outils numériques car je suis infographiste dans une agence d'architecture à Saulieu. Je fais le plus souvent des photographies de paysages en format carré et en noir et blanc. J'aime essayer de montrer ce que l'on ne voit pas dans ce qui nous entoure. Créer des atmosphéres qui ne semblent pas évidentes dans l'instant mais qui sont lá, sous jacente. Pour cela j'utilise souvent la pose longue et une profondeur de champ réduite.

Website | www.emmanuelcorreia.com

ANA FILIPA QUINTÃO | Blue(s) Project

Fri, 18 May 2012 00:00:00 GMT

]]>Strolling. Felt the blue colour of the sky and the melodic blues invading me. Everything was transformed in theatrical scenery and its characters and scenarios suddenly appeared so I could capture them in that melancholic Blue(s) act. A lomography series with an Holga.

Vagueando. Fui sentindo a cor azul do céu e a melancólica melodia dos Blues a invadirem-me. Tudo se transformou num cenário teatral e os seus personagens foram aparecendo para que eu os pudesse capturar nesse acto melancólico. Um trabalho de lomografia com uma Holga.

ANA FILIPA QUINTÃO | While Driving

Fri, 18 May 2012 00:00:00 GMT

]]>My car always represented my freedom. A series about expressing this feeling always lived inside my car. A view of the world while I am simply passing by…A work of iphoneography in progress.

O meu carro sempre representou a minha liberdade. Esta série expressa este sentimento que sempre vivi dentro do meu carro. Uma visão do mundo, enquanto estou simplesmente a conduzir e a passar…Um trabalho de iphoneografia em progresso.

ANA FILIPA QUINTÃO | the DReAM

Fri, 18 May 2012 00:00:00 GMT

]]>Devotion. My father. Affection. A dream. The dream. Of death. Of life. Of anguish. Of joy. A dream of affections. Purely. On a self-portrait iphoneography work.

Devoção. O meu pai. Afecto. Um sonho. O sonho. Da morte. Da vida. De angústia. De alegria. Um sonho de afectos. Puramente. Um trabalho de iphoneografia em auto-retrato.

ANA FILIPA QUINTÃO | Lo-Fi Lisbon

Fri, 18 May 2012 00:00:00 GMT

]]>…suddenly Lisbon became a wonderland in a low fidelity mood and I was Alice in “that” Wonderland. Once upon a time…

…de repente Lisboa tornou-se no país das maravilhas, em modo de baixa fidelidade, e eu transformei-me na Alice “nesse” País das Maravilhas. Era uma vez…

ANA FILIPA QUINTÃO | Emptiness

Fri, 18 May 2012 00:00:00 GMT

]]>Emptiness. Abandonment. Cobwebs. Past. Memories. Stories lived. Never forgotten. A work of iphoneography.

Vazio. Abandono. Teias de aranha. Passado. Memórias. Histórias vividas. Nunca esquecidas. Um trabalho de iphoneografia

ANA FILIPA QUINTÃO | Elements

Fri, 18 May 2012 00:00:00 GMT

]]>Earth, Fire, Wind, Water, and Void. Images of a Japanese philosophy, in which Earth, represents the hard, solid objects of the world. Fire represents the energetic, forceful, moving things. Wind represents things that grow, expand, and enjoy freedom of movement. Water represents the fluid, flowing, formless things. Void, also meaning Sky or Heaven, represents those things beyond our everyday experience, particularly those things composed of pure energy. A work of iphoneography in progress.

Terra, Fogo, Água, Vento e Vazio. Imagens sobre uma filosofia Japonesa, em que a Terra, representa os rígidos e sólidos objectos do mundo. O fogo representa tudo o que se move de forma enérgica e vigorosa. O vento representa tudo o que cresce, se expande e que goza de liberdade de movimento. A água representa o que flui e não tem forma. O Vazio, que também significa o Céu, representa tudo o que está para além da experiência quotidiana, principalmente o que é composto de pura energia. Um trabalho de iphoneografia em progresso.