Scars
Images removed, arrugadas, lijadas, laceradas, cosidas… Fragments, reliquias, vestigios…
Between the times of the creation of the image, from its destruction until its metamorphosis, and merging the background (the subject) and forming it into a surprising process of metal contamination (the content converts into the container), photos of Dune Varela create a perceptual disturbance.
Details of old statues printed on marble, old photos of temples printed on rotary stones or mounted on aluminum plates and painted with balazos… Uno no sabe en estas images de ruinas en ruinas, borradas, perforadas, rasgadas…, alteradas por el gesture del artista plastic, after having worn it if it has been altered by the time, if its stigmas are past or present, if it is en the image or about the image…
Take the property image as a vestigio, as a ruin, the photo therefore needs to be appropriated, mimetizarse with the process of the time that prints -from the night of the tiempos- on the stone on the scars, from the “sculptures” geológicas to the ancient monuments sometidos to the erosion and the destruction.
In “Fotografías de vestigios, vestigios de fotografía”¹, the images are based on a contamination of the photographed object (temples, ancient statues and other ruins) with the medium, the matrix of the object, as an incorporation of the object represented in the image, has its representation. A mimetism that, while it is purely aesthetic, can be darkly true. For example, the images of the Temple of Beel in Palmira, before their destruction by the “Islamic State”, printed on rotary stones… or the remains of the edificios printed on sobre hormigón antes de ser lijadas en algunos lugares or a red substitute for a black halo in a barco de refugees…
vestiges
A story within a story of the destruction during the time, the fragments of this archaeological imagination, like artifacts, false vestiges of an imaginary lapidary museum, its señuelos. Impresas surbre mármol o cerámica, las fotografías convierten en esculturas, son piedra, son yeso, se convierten en materia… Devolver una materialidad a la imagen” es le principal reto de esta obra, que se situúa a midway camino entre la archeology y la fotografía (dos inventos del siglo XIX) y la escultura.
Print fragments of pantalla captures on three ceramics or old prints altered on the video plates, Dune Varela exhumed images that were superimposed as other many archaeological caps to lose on the layers of the time.
Lacerated seas and icebergs adrift are cosidos de nuevo, incendios, explosions and other scenes of cataclysm impresas sobre tejen, with great poetry, another narration of the time: the reparation. Las images cosidas hablan de todas nuestras fragilidades…
- Michel Poivert, The contraculture in photography, ed. Textual
- Finalist of the Contemporary Talent competition of the Fundación Schneider.
@Poush
Paris – France
Stéphanie Dulout