“Sometimes it happens to me, when the lights shut down and the city stays in the dark. I open the door, take a peek at the stars and imagine for a second that the world ended for a while. Some other times it happens when I’m already in my bed and remember that my wallet stayed in the car. I get up, go down and find the streets empty, a cat trying to figure out if I’ll be a threat or not, the silence of a neighborhood who will necessarily wake up in a few hours to the labour routine. It also happens in the mountain trails, after setting up the tent in a sheltered recess in the cliff or in some forest clearing, in those minutes or hours that I’m around the campfire just delaying the time to go back to the sleeping bag. Of course, happens to me when my friends pull me to the tavern for a night out, for the celebration of friendship and life, when a guitar appears and we sing and we toast so that there will be always songs to sing and musicians-poets to write them.
Yes, sometimes it happens to me this will of being this nocturnal animal, belonging to the wrong side of the night, going to bed when Lisbon dawns. But it is rowing against the tide of my own, I can not handle the uncertainty of the hours, with the messy daily routines, with the wasted mornings and with the unproductive idleness of the next day which is, surely, a day lost forever. You can’t have everything, and I prefer the sun to the moon.”
“A night in the end of the world” – GC
I’m still divided between the sun and the moon. I guess one day/night I’ll make my choice. Or I’ll keep up having the best of both worlds.
“Em Casa” / “At Home” is a photobook by Rui Telmo Romão, from Portugal.
The book will be released on Feb. 28th at “Primeiro Andar” in Lisbon.
It seems like there is an emphasis on the process of taking your photographs, as opposed to how many photographers focus on the final outcome of the image. I often ask photographers if they feel aesthetics or content is more important in their images. Do you feel the process is an important factor in your images? How so?
RTR: In this case the process is the only reason for having an image. I usually do care about the outcome. Of course I do. When I create an image I hope it is a beautiful one. It is what everybody can see after all.
But not in this specific project. For “At Home” it was more important the place that I chose to photograph than the photography it self. I chose them because I felt “at home” there and I don’t think you can capture that in an image. At least not directly. So I didn’t wanted to make any kind of aesthetically judgments, because the feeling is more important than the way it looks. The creative thought and all the process of gathering geographical information before taking the photography substitutes the decision act of framing or choosing a specific subject to photograph.
I like how, in the prologue, it is written that there are different names for the concept of home, such as “Heimat” and “Whalheimat”. Perhaps different cultures have different ways of attaching meaning and values to different things. Do you think images are able to transcend that cultural difference/distance?
RTR: I believe that an image always communicates meaning to anyone. But the original idea might be lost from the moment the image is created. We are all different. We all have lived our own experiences, have our own cultural references. From the moment that an idea is materialized into an image it is subject to whatever judgment and relations the observer creates.
I also believe a part of the original meaning will always stay attached to it. We are all human, we all observe, think and investigate. We all have feelings, we all understand, experience and read emotions. So some codes and values are universal.
read the full interview
JASON GOWANS is an artist currently based out of Vancouver, Canada, who creates three-dimensional structures based on a two-dimensional images. Gowan’s work was inspired after observing images of landscapes trying to capture the true vastness and expansive beauty of the Earth. However, without the sense of depth in photographs, the epic and breathtaking nature of the images are subdued.
London firm rogers stirk harbour + partners revealed their plans for their vision for greater paris 2030 last week. working together with london school of economics and arup they proposed 10 principles for metropolitan paris. (full article)
1. Adjustments by intensification and integration of the territory occupied by arterial railway today. linear parks, new lateral connections, cities techniques (energy, waste, recycling, combined logistics), new equipment and enhanced transport links that serve to metropole paris prepare for a future in sober resources.
2. Transport individually: the boulevards – recuperation of the public domain by adopting mini green cars: the creation of a network continuous open spaces across the metropole. Transition strategies for transport individual generate reducing the footprint environmental and physical of the car, which allows a renewal of the public domain; more greenery, wider sidewalks, trails cycle.
image © rogers stirk harbour + partners
“Starting from cracking nuts with rocks like apes, the use of tools has undoubtedly added to human acumen. The use of tools as extensions of our hands has greatly expanded our interaction with nature. Over such interactions, we’ve also acquired mental habits. In making arrows to shoot down birds in flight, we’ve had to understand how birds fly, as well as how to flake and grind stone to make arrowheads. No sooner had humans grasped the notion of vertical gravitation and begun to walk upright, freeing our hands from ground movement, than we started picking things up as tools, and so developing our brain.
I myself have done my share of inventing tools for realizing various art projects. My studio is more of a workshop Often they just don’t sell the tools I need for the job: like a simultaneous vertical-horizontal agitator” to prevent uneven film developing for my Seascape negatives, or an “time-lapse anti-slip device” for shooting my Theaters, or a “super-wide angle bellows” for my Architecture series.
I’ve learned many things from using my hands. While I’m still not sure about the nature of light―whether it’s waves or particles―I’ve learned a thing or two about shadows. Thinking to devise a way of observing shadows, the project escalated into a major undertaking, requiring an entire hilltop penthouse in an older apartment in Tokyo. When surfaces receives light, the light effects varies according to the angle of exposure. Selecting three distinct angles―90°, 55° and 35°―I had the walls surfaced using traditional Japanese shikkui plaster finishing, which absorbs and reflects light most evenly. In the morning light, the shadows play freely over the surfaces, now appearing, now vanishing. While on rainy days, they take on a deeper, more evocative cast. I’ve only just begun my observations, but already I’ve discovered a sublime variety in shadow hues.”
Colors of Shadow – Hiroshi Sugimoto