I chose this picture for several reasons: the main one is that, at this point in my career, I give more attention to substance than form. The aesthetic content of an image I find something as vital as primary, so I find that should be subject (if not complemented) by the message to convey.
This photograph of Joan Fontcuberta could be seen with the naked eye almost like an abstract painting, in fact, has not even been obtained through a camera. This is a drop of blood placed on a transparent glass, placed in the enlarger that serves as a negative. The image is projected on the papthe photographic, being printed on it and suffering the investment process to be converted later into a positive.
I marvel at the texture and color of sedimented blood. I wonder, above all, the formless form, by the multiple readings that can be submitted.
My personal view on it is this: we are facing, through photography, the importance of imprinting. Fontcuberta this series of blood counts performed on blood samples collected from various friends and strangers, so that each of these photographs could be, somehow, a portrait. And here come the game of causation, we could associate each image with one attribute of the person to whom it belongs.
Humans are moving the information stores. Each person is a whole history, experiences, feelings and ideas, absolute - and painfully - unique. Our blood contains our genetic heritage ... and perhaps even learned.
wondered if all that is manifest latent information somehow in the picture. I would think so, despite the difficulty of such a claim. Based on the theory of pars pro toto (a part is everything, and everything is in each party) come to the conclusion that the essence of a person is contained and concentrated in every drop of his body. Then this picture would be an aleph, that and the drop of blood is part of the human being
DORA MAAR)
by her husband Paul Eluard.
Your eyes get lost in the night insomnia
One day, Miller, working in the darkroom of Man Ray, a negative plate accidentally exposed to light. She and Man Ray were surprised to see the resulting distortion of images, which gave them a power look almost three dimensional. They set about this accidental discovery in a technique called solarization. Man Ray took (but not Miller) to international fame.
* 1905 - Beneath the Wheel