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Esteban Pastorino
7th - 18th January 2003
additional text/images
Originally, I thought this project in a ludic sense essentially, playing with the technique, and I thought in the images in a technical sense and not, at least at the beginning, with an aesthetical intention. I thought in these images indissoluble associated to the camera and the uncontrollable variables that influenced its particular functioning. Consequently, the process of creation of these resulting images was, in some manner, at random. It was then that the camera was transformed into a constitutive part of the image and into its unperceivable protagonist.

©RED gallery

These photographs retake the issue of the photographic objectivity, as they connect with the world revealing the technicality of photography. Likely, I as a photographer, was also "technified", even leaving out of control the things that are on the other side of the viewfinder and therefore releasing this task to the camera will. These images do not deal with the objectivity as a search for realism, documentary will or predominance of the photographic object, but they deal with the absence of the photographerís look in virtue of the predominance of the materiality and the technical process.

Therefore, for me the value of the photographs is not reduced to the sole artifice. There is a persistent logic that consists in emphasizes, by means of a technical construction, certain aspects typical of the chosen landscape.

©RED gallery

These images that try to disorder the perception, have a certain fiction level. Fiction, then, in a double sense: the one that is built from the spaces created through a technical form; and the one that we generate as spectators, over the base of that invention.

But not everything is submitted to the chances of the used media and the way in which the author provokes them. The photographer is not indifferent towards the photographic object. The media influences on the perception with the same variables with which it influences the image generated by the camera. The small details that called my attention and that leaded me to photograph them are also the ones that reveal the fiction created by the photographic media and that reveal their real reference.

©RED gallery

In this series of pictures I worked on the idea of transit and mobility. Particularly, I aimed my attention at critical points of Buenos Aires where, due to the lack of an appropriate transit infrastructure, the accidents rate reaches its highest level. The intention of this work was not to evidence this statistic fact or the chaotic state of the transit; but on the contrary, it was to oppose these facts to an image that could represent them with an apparent order. Besides, the use of the camera as observation and documentation tool of movement, retakes one of technical traditional uses of the Photography, in this case quoting the kinetic studies developed by Etiene-Jules Marey and Edward James Muybridge in the early years of the Photography.

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