Humans and cities dependent on each other, connected, reciprocal. Cities are moved by us, just as they draw us to and through them.
The camera is an eye. This is one of the common statements that we hear about the medium of photography. In fact, it sees the world differently to how we see it. Focus-blur, motion, freeze, distortion, color tones, black and white. In the field of meaning the content is infinite; everything can be inserted into the photo message.
The photographic eye presents the world in a way that we can not see, it is open to creativity, open to technology, to the editing and the treatment of the image to be shown to human eyes. Here we insert the multiple exposure of images, one stacked on top of the other, sometimes minimally ordered; in others, photographies just in the heaps, not caring with the classic photographic aesthetic commitment, but committed to something that we can not see naturally. Stacked Cities brings peculiarity in observing the urban environment. The time lapse is depicted, placed one on top of the other, presents itself in a new reality, in which layers and more photographic layers are piled up in a new image. The streets as we normally see them are now a set of urban portraits, where architecture, public transport and the inhabitants of this reality, all together, become characters of a world formatted by the photographer’s gaze through the camera.
Through photography we are thrown beyond the boundary between reality and imagination, mixing illusion, dreams and memories, leading us to an image that seems to have been originated in our subconscious, but not. Stacked Cities is part of one of several photographic cycles, especially in depicting the real city, transforming it through stacking, flirting with the surreal, and finally becoming real again before human eyes. The image, even disorganized and vertiginous, is now materialized with new meaning, which exists, can be seen and interpreted.
See the book “Stacked Cities” below. Access the gallery at Acurácia Fotojornalismo.