(São Paulo, Brazil) The selected works represent a diverse universe of postures that transcend
the isolated meaning of an image and gather together exterior connexions by using a series of strategies, such as the disposal of multiple images in narrative sequences or the use of photographs treated as semantic unities in «visual phrases» that create bigger sets.
The selected works represent a diverse universe of postures that transcend
the isolated meaning of an image and gather together exterior connexions by using a series of strategies, such as the disposal of multiple images in narrative sequences or the use of photographs treated as semantic unities in «visual phrases» that create bigger sets.
Not exact matches
The film's striking
images — an
isolated gothic mansard - roofed mansion standing alone on the prairie, the dark silhouette
of a scarecrow in the field, an enlarged shoot
of grain coming up through the soil, a grasshopper chomping a head
of wheat, a wine glass under water following a furtive tryst — are charged with emotion and
meaning, never there just for effect.
Richard Aldrich, who insists that for him painting is the opposite
of «impossible», offers four
isolated images using four distinct techniques and four representational languages: the syntax
of looking we use to reconcile them leaves
meaning itself provisional.