The photograph on its reverse: A theoretical reflection on a poetic production.

The photograph on its reverse: A theoretical reflection on a poetic production.

     In this brief text I propose to make a theoretical reflection on my artistic production, my goal is to raise some problems and concepts that it presents and try to reflect theoretically about them. The point that draws my attention and that will base all this reflection is the concept of displacement that my poetic process presents, using elements and processes typical of the photographic language to distort the visuality and rethink what is reality within the field of photography. 

     In this sense, a question that seems to appear as potency is the possibility of the cut and the framing, there are photographic images that use the cut and the framing and end up detaching the photographic image from the reference space to which it removes its image, as is the case of this image "untitled" that is part of the exhibition "Lost Frontiers: limits dissolved between the abstract and the figurative." Here the object and the elements of the visible reality do not reveal themselves, they only give room to the imagination.

Fábio Salun - untitled - 50 x 70 cm - Photography - personal collection

     Another issue that concerns the visual displacements in the photographic image are the problems that the geometrical point presents with respect to the image. The image resulting from certain geometrical points recreates and modifies the characteristics of the object photographed, creating a different visuality, modifying it, finally, displacing it. In this image, a geometrically decorated box is placed on a wooden table, the non-linear perspective overlaps the element to the table hiding the difference of depth giving the impression of a different image and that distorts reality.

Fábio Salun - untitled - 50 x 70 cm - Photography - personal collection

     In photography, the use of mirrors allows you to capture light rays (and therefore, print on photo paper) objects that are not directly in front of the lens. The mirror itself, in thesis, does not appear in the image, what appears is the object (or scene) that it reflects. The reflective surface of the mirror rebounds to the film (or sensor) light rays that are not directly in the field of view of the photographic objective, but of the reflective surface of the mirror and, therefore, when it appears in photography, will introduce to the photographic space a new spatial problem. It is the case of this image where the trees of a street are reflected in the surface of the glass and they overlap the yellow jalousie that is in the interior favoring the distortion of the image and its object.

Fábio Salun - untitled - 50 x 70 cm - Photography - personal collection

      To conclude, I would still like to think of the visual shifts in photography that are provided by the relationship that language establishes with the time, Walter Benjamin said that the camera revealed a world of images and aesthetic possibilities never seen before, cites as examples the images of Blossfeldt which showed that "in the equiscite the earliest forms of the columns, from the arborescent fetus to the episcopal miter, on the sprouts of chestnut and aceracea, increased ten times, totem poles, on the thistle a Gothic building" (2012, page 95) . 

     Thus, just as the photographic apparatus allowed man to look at fragments and details that were not perceived by the human eye, he also allowed man to move visibly through different temporalities, and it is from this that the chronotópic anamorphism proposed by Arlindo Machado enters in this reflection. It is important to think that in photography the time is also a space problem, "the time in the photograph is thought from the spatial point of view, an inscription in the corpus of the image" (COSTER, 2016, p.89), in the photo it can only be thought in terms of representation, "photography freezes space not time" (COSTER, 2016, page 90). This is the case of my "Virtuais" series where I register the daily life of the center of Florianópolis not to register people and their convivial environments, but mainly the space-time traces left by them.

Fábio Salun - untitled - 50 x 70 cm - Photography - personal collection

     Ultimately, in this brief reflection I tried to put in check some concepts and problems that appear in my artistic production, that transiting in the field of photography and that is seems to have as objective to think how the use of the fundamental elements of the language allows the distortion of reality. Starting from the relation that photography establishes with the real i seek reflect on the unreal, problematizing not only the object and its representation, but also the photographic language itself. 

     Attempting to name this photograph one can think at first of the concept of abstract, a common term and much used by photographers and theorists over time, but which in my way of seeing already presents a conceptual problem: these images photographic images do not point to a problem of abstraction simply because every photograph, however figurative it may be, is an abstraction by the mechanical aspect from which its process derives. For photography the problem of "non-figuration" is not a problem of abstraction as it was for painting, but a problem of displacement of the photographic image of its referential space. 

     Finally, a displaced photograph, this is what this work is about, a series of visual dislocation given by photographic work, that from the use of the elements of its language, seeks to understand how the real can be perceived by the eyes of photography. This displaced photograph consists, therefore, in entering into the photographic language to extract from it, not what it proposes to do (creating copies of visible reality from the impression of luminous rays), but what can be done with it (as its language acts in the relation between the photograph and the real). 

Fábio Salun
Master in Visual Arts by UDESC


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