GABRIELA ZUCCOLILLO

Técnica: Fotografía manipulada por computadora

de 12” x 144”

Año 2006

La obra está catalogada en

CENTURION ART PARTNERS

"I have been working in photography for almost 20 years now, and I have explored different approaches to the medium. At times I tend to make photos without much logic, and afterwards I find a reason to make them into a series. In this case, the photos come first and then an idea or concept that unites them. In others, it is the idea that sparks the images. I have times when the simplest image without any manipulation marvels me, and others I feel the need to manipulate, transform and invent something else than what the images initially shows.

I don't question myself much about all this, since I strongly believe that what is important is what an image can communicate than rather how it does so. And putting limits to this, discarding other options doesn't sound very interesting to me at the moment. Lately, I have been working with still images to produce videos and explore other possibilities."

About "Long Landscapes" and "Anonymous Portraits"

"In "Long Landscapes" I was interested in time. These landscapes are an effort to capture the passage of time. Even though they might seem "natural", these landscapes are only virtual since the human eye can never "see" them. By adding up 8 or 16 images I create a photograph of something that doesn't exist to the real world. Photography has been defined as a small fragment of time frozen in an image. The sole fact of building this image by adding up different moments in time questions this definition since the image exists only because it is a sum of moments, and time has passed by from the first to the last in one photo. And in a few of them, time is more clearly captured when we see an action or a person in two different places. In this series I attempt photograph time rather than space.

The "Anonymous Portraits" reflect for me moments of loss of senses. A lack of horizons that make me feel that it is only the day-by-day moments that one can hold onto. In one of these moments I felt strong empathy with these lonely bus travelers at night. Watching from the outside they appear involved in themselves, self-absorbed in their own daily life, and absent from what is going on around them."

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