Bite! magazine » Patricia Gouvea

A Sensitive Record Of The Unseen Work In Private Homes

The portraits of Brazilian domestic servants confront both, master and servant, two environments and two characters, the world of reality and dreams. In many of the photographs it’s as if a dividing line has emerged, separating the two very different lives. A sensitive and deep portrayal of the relations with respect to those being photographed emerged, even though Balco’s sense of humor, exaggeration, and even sarcasm are on display. The portraits impress with their dignity and are at the same time monumental. The selected photographs are connected to stories, acquainting us with two different worlds: the luxury of the middle class and the common Latin-American standard.

Ironic Allusions To Our Relationship With The Desert

“In my photographs from the last few years, I have intervened upon the landscape, creating scenes or sets with a wide range of natural and manmade elements. In this way, amidst the sometimes oppressive vastness, I construct and photograph intimate spaces: some of them are metaphors for the painful desertification of the planet caused by man, while others work as ironic allusions to our relationship with the desert. The action I perform deals with reintegration: it’s a reflection on what the desert has lost, but also a way of restoring its ravaged memory through a personal intervention.”

A Kite Lifts The Camera Up Into The Air

Esteban Pastorino Díaz: “I wanted to create an ambiguous image that resembles the way we look at the scale models but which is actually a photograph of the real world. The main technical points that I defined for that were: the apparent short deep of field in the images, and the high point of view from which the images would be taken. The first effect is given by tilting the lens in relation to the film. For that I constructed a cardboard camera which has the lens in that position and fixed focus. To reach a high point of view, I use a kite that lifts the camera between sixty and four hundred feet up into the air.

Its Red Hue Became A Reference Of My Own Image

Isabela Lira: “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. 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.

Eternal loves, Disposable Loves, Conflicts, Separations

The series Love Story presents images that are a result of years of research on the impermanence and the affective relationships. A transitory instantaneous diary, using elements from nature and situations of daily life to talk about the several facets of love relationships. Eternal loves, disposable loves, finite and infinite, conflicts, separations and mismatches are part of this panel represented in a simple, metaphoric and poetic manner.

The Lyrics Make Explicit References To Sex, Drugs And Violence

Daniele Dacorso: “I have been photographing “Baile Funk” parties in favelas (slums) and suburbs of Rio de Janeiro for ten years now. Baile Funk music mixes American funk from the 70’s with samba rhythms and contemporary rap and the lyrics commonly make explicit references to sex, drugs and violence. As an observer of Baile Funk, I have always been fascinated by the choreographies, the catharsis and the seduction games between boys and girls, the audience and the artists on stage and the way they mix sex and humour into lyrics and dance.”

Just Stop And Observe

Located around a few squares of the Estácio District, next to the Sambódromo, Baixo Estácio is a region that remained from the old Praça Onze (Eleven Square) with an architecture that dates back to the end of the nineteenth century and the beginning of the twentieth century. This district maintains a position of unquestionable leadership because three of the most important events that, until today, retain an extraordinary influence on the daily lives of the people of Rio de Janeiro. took place there: 1. The creation of the first Samba School – by the musician Ismael Silva, a grandson of slaves; 2. The expansion of the African-Brazilian religions – umbanda, quimbanda and candomblé; and 3. The invention of the carnival-type samba (or carioca samba) by the same group of Ismael Silva.