Porto Interior by Inês d'Orey (September 6, 2010) 
(14 votes, average: 3.64 out of 5)
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Introduction by admin
Pedro Lobo recommended Inês d’Orey to us. d’Orey: Porto Interior depicts interiors of public and semi-public buildings in the city of Porto, Portugal. This project functions as a collection of spaces that I search and find throughout the city where I was born and where I live today. Driven by my own aesthetic curiosity, these interiors are photographed absent of any human presence. Familiar places like theatres, swimming-pools or staircases, used by people on a daily basis, become stages for a story that is never clear, that doesn’t need to be clear. Robbed of their liveliness, these places become transit zones to a melancholic feeling for beauty.
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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...
Over the past years, I’ve been mainly interested in photographing space. Before the strength of rhythm, proportion, form and light, the curiosity of the functionality, what interests me the most in my photographic work is the possibility of an unclear narrative.
Many of my photographs depict urban public spaces absent of any human presence. Familiar places like car parks, swimming-pools or staircases, which are used by people on a daily basis, become stages for a story that is never clear, that doesn’t need to be clear.
I like this capacity that photography gives of interpreting reality in a different or unexpected way. I don’t want to document reality, but to give the new perspective of a long moment stopped in time.
The everyday use of spaces tends to make them invisible, indifferent. The more you use the space, the more you ignore it.
What photography does is, it selects, focuses your attention and tells you where to look. I want to trigger the viewer’s imagination: what strange story is happening here? I like to think that the viewer will feel, more than rationalize, when looking at my photographs. That is what attracts me in other works of art.
Inês d'Orey (1977) lives and works in Porto, Portugal.
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