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Affective Memories ,
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Collective, 2018
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The tourist
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Collective, 2017
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only in portuguese |
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TODA FORMA
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only in portuguese
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only in portuguese |
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Bare Invervention
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Collective 2010
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only in portuguese |
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Why do I Photograph?
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Collective 2008
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It is important to ally to any production, mainly artistically, a good dose of reflection.
The multifaceted production and diffusion of photographs that we live today, in a constant and endless overlapping of pictures, that puts in the background a reflection necessary not only about the quality of what we are producing, but also in relation to the diverse questions that permeate the photographic making.
In Why do I Photograph? Each participating author chooses one of their photographs and registers their motivations to express through photography, explaining why they photograph.
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Another Decisive Moment
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Individual, 2007
PHOTOART 2007
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To photograph is a multifaceted pleasure, to capture moments and eternalize them. To keep pictures in albums of places we went. Sometimes posing in front of the camera or just collecting landscapes.
Everywhere, all the time, there is always someone photographing a monument, a group of friends or even themselves.
To photograph is to invent the world. It is to construct our imaginary.
I collect images of people photographing. I want the photography of the photography. I want to be an observer of the daily spontaneousness of the multiplying photographers through the streets, bars, monuments, everywhere.
I am the one who sees what happens during the Click. I am the photographic eye that sees the photo. I do not look through the viewfinder but I participate as a spectator.
I collect decisive moments of other photographers.
And thus I become present, and eternal, even though I do not appear on the photographs.
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Equivalence
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In contact – Soul Thieves (Ladrões de Alma)
conference FotoArte 2005
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In the essay Equivalences, Rinaldo Morelli turns photography into something bigger than a visual print, as the changes on the details of the scale transforms the photographic image onto a great plea for tactile.
Placed side by side, the texture and the skin enlargements suggest a state of wholesome vulnerability. If on his former abstractions he proposed a different perception of the objects, reduced to colours and shapes, Rinaldo Morelli now searches a deeper approach to things. The result is still a world noticed as feelings, but now this world exists to be touched.
Susana Dobal
Teacher at the Faculty of Communication and Media
University of Brasilia. Brazil. |
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Paradoxos
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Collective Loquacious Place
PhotoArt 2004
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A place is never a void.
In the photographed void there is always the photographer, although he pretends to be absent.
In deserted places there might be tracks,
vestiges of human presence.
An empty chair is a sign full of meanings.
Someone has been or will be there, to see the landscape,
to look to the horizon.
The empty chair watches everything.
They are photographic paradoxes.
The voyeur sees the photograph, there’s no way to escape from the intention to place himself as the photographer.
We’re all there, even though we’re away.
Paradoxes.
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The bird are you!
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Collection of works “Almost Something” of the Soul Thieves Group, 2003
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It looks at the bird!
Many times we have heard this command. While we smile, some times without any charm, the photographer mysteriously stares in to the object of the snapshot through his camera viewfinder.
When we look at the photo it always appears that somebody is starring at us, from a very far distance, from were that small parcel of that time belongs.
The photographic phenomenon involves always three basic views: that of the photographer, that of the photographed, and that of the one looking at it. We have discovered the voyeur who reveals himself with the encounter of our glance.
Mix everything: It the bird is you.
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Analogic Image
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Collection of works by the group The Soul Thieves, 2003
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A dive into the subjectivity of a look.
This is the invitation.
The reality is seen in abstract outlines. A jorney through images that don’t show themselves, they hide a secret. A mystery where, the beauty suppresses the need to recognize the photographed object photographed. Although, analogical photography (the one that is not digital) needs a reality in order to exist.
It is a reread of the digital images through the language of analog photography.
In one hand, these images are recast in to the universe of digital images; on the other hand, reaffirm the endless poetic possibilities of photography. |
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Compositions
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Collection of works The Soul Thieves
PhotoArt 2003
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I have no responsibility with reality.
Even though photography has this narrow junction, we can deny it and search for a poetic justice that is not conditioned to the real.
This work is a result of a photographical research which aims to deny the definition and the representation of reality to the point of recognizing it.
These are unfocused images that suggest a separation in the relationship between the photography and the reality, showing masses of light and color, in a joint exercise of Compositions.
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Candângulos
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Individual, 2001
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Through curves and straight lines of Brasilia’s architecture new outlines, new angles.
There are many possibilities, images inside images.
The designs within the photographs create a mosaic, and the photographs fulfill their purpose: interpret reality.
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Stairs
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Individual, 1999
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The stairs are always available: up, down.
In the childhood, in careless speed.
In the old age, in cardiac slowness.
They sprout from the man’s ingenuity, willing to reach different levels.
Imaginative, some generate intriguing perspectives.
Others don’t. They turn the going up and down into something repeatedly dull.
Some can be surprising, others are too obvious.
Stairs talk about time and like time they see as pass by.
Banisters. Even when they are not touched, they show limits.
They guide the eyes that tell the feet where they are treading on.
Stairs. Starting points, returning points.
Short and out of breath room between floors, where sometimes we live the necessary pauses to take decisions, scare the fear away or to run away from the fire or your life.
After so many ups and downs Rinaldo Morelli ended up discovering the charm of the stairs, turning this living into exercise for your perception.
He talks about the topic with competence and sensibility, and seems happy with the fun nature of the work.
They are steps, curves, lights and shadowy forms on an anonymous coming and going.
After all, it’s up to photography to regenerate to our eyes things which are lost in the sameness of the daily routine.
Rinaldo Morelli makes the magic not always noticed come to turns and generously gives us his findings.
Luis Humberto Martins Pereira
Teacher at the Faculty of Communication and Media
University of Brasilia.Brazil.
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Panorama of the Visual Arts
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Collective, 1998
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Sensuality is also possible, let us say, mostly mental. Not pleasurable to the touch, but pleases the search for purely visual harmony.
Susana Dobal
Teacher at the Faculty of Communication and Media
University of Brasilia. Brazil. |
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Abstractus
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Individual, 1987
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The most extensive meaning of the easiness of photography is related to its capacity to identify, consider and fuse a dozen or a hundred visual ideas spending the same time a painter could only produce a single sketch.
What’s important about this unlimited production is not to take more photos but to dive deeper into the enticing puzzle of the sight: how to know the world better through your eyes.
John Skarkowski
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