Sobremim (About Me) by Isabela Lira (May 30, 2010) 
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Introduction by Patricia Gouvea
Photographs feed me. Photographs transport me. Photographs leave a mark on me. Photographs open a gap in ordinary time or transform the ordinary in extraordinary.
This selection of photographic works does not have a master line: they constitute just one part of the images that in some moment aroused emotion in me and for that reason accompany me to these days. These are works from artists as different as their paths, reflections and challenges that each theme provoked, leading them to create methods, concepts and solutions to turn into matter what is born reverie.
Some projects look closer to documentation, like the trance funk Totoma! by Daniela Dacorso. Or the portraits of the domestic workers and their bosses, by the Slovenian Andrej Balco (who, after a period of time in Rio, escaped from the cliché poorness – violence, looking at the carioca middle class). Or, still, the Baixo Estácio by the very carioca A.C. Junior, where Samba is more silence than happiness.
Other projects point to gaps and small signs left on the skin of the urban tissue, that talk about love and pain, like the series Love Story, by Leonardo Ramadinha. And to enigmatic landscapes that could only exist in the mind of dreamers like the Argentine photographer Esteban Pastorino that, in the series K.P.A., turns into models places photographed from a kite fitted with a handmade camera. How not to be attentive also to the humorous and self-explicative Sobremim (Aboutme), by Isabela Lira? And to the Mexican Alfredo De Stéfano who, in his series Replenishing Emptiness, makes the desert a territory of the ephemeral, with his experiences of intimacy and relativization of nature?
Make these images yours, take them with you wherever you go, be attentive to the thickness of time that exists in each one of them. A more frenetic time or a more decelerated time, it doesn’t matter. Just stop and observe.
Next / Ironic Allusions To Our Relationship With The Desert / Previous / Each Work Is A Visual Performance, A Visual Fable /
Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
When I started to develop projects connected to visual arts, my first path were the instant Polaroids that I used as studies and sketches of future ideas for my work.
This series – Sobremim (“About Me”) – has originated from a connection between my image and my hair.
I noticed there was a connection between people’s perception and the colour of my hair, that generated almost an identity.
Its red hue, very characteristic, became a reference of my own image.
From that connection, I started to develop a series of work having my hair as the main focus.
Ever since, I have been creating works with red hair as a concept and base.
These include photographs, installations, objects and a big hair sculpture.
An instigating hair, invasive, which appropriated my identity.
Hair that frames the face.
And does it so much that it finally takes it, becoming my identity, a unique body, capillary.
Isabela Lira (1976) lives and works in Rio de Janeiro, Brazil.
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[...] traz ainda a espirituosa série Sobremim (About Me), de Isabela Lira, e o trabalho do mexicano Alfredo De Stéfano, Replenishing Emptiness, que [...]