Laburé: meantime between memory and desire
Could photography be a body in trance? There lies the poetic structure of my work and its relation with Roland Barthes’s
theories enlightened at his very subjective essay “Camera Lucida”. I understand photography the same way I understand a body in trance at the afro-Brazilian culture: as a time pill in a dancing space. As well said by Barthes, each photography has something terrible: the return of the dead.
Well, a body in trance at the afro-Brazilian culture means dead enchanted heroes and warriors returning as divinities. I see the same spectacle in photography: spectrums crossing layers of time. Both – photography and bodies in trance- are language and expression materialized into a medium.
Photography, as bodies in trance at religious rituals, is more than the materiality that is seen. Photography is a body in a tense state. It is a body in transit: between something that is present and something that is absent, between our time and a time of a certain origin, a past we try to understand and a future we dream.
At a fragmented rhythm, photography choreographs our myths and idols; and thus reinvents who we were and who we want to be. If matter is time’s carrier, photography must be the stage of remembrances and desire.
Photography must be the body that was supposed to be born to transcend death. The taste of permanence we seek every single day.