The pulse of the photographic portrait can't be containable.

More
than a memory, the portrait is a treat between the subject and the
photographer and in this sense, the portrait is collected and
displayed. Instant photography, due to its manipulation difficulties,
gives the image a strong plausible charge and, additionally,
possesses the very own aura of the unique copy.

These absent portraits are related to an artistic operation of double

appropriation. The distance of the subject given by the capture of a
projected image of the original image, is annulled through an Photographer, Artist,
instantaneous record that, dated in the present, converts these Researcher and Teacher.
portraits into unique, credible and effective pieces. jmramirezg@gmail.com
joseramirezfoto.com
Absent Portraits
@jmramirezg Jose M. Ramírez

Before the contemplation of certain landscapes, the eyes are

anchored and the body is paralyzed. Only the photographic record
can be saved from that hypnosis, from that alienation. When we
finally see the image we have obtained after that irrepressible
impulse, we face the inexplicable: what is it that an image touches in
us? What element can be changed or subtracted for being
moderately interesting to creating an emotional connection?

Barthes gave us some clues when he told us about studium and

punctum. The enthusiasm for the subject, the attraction for the
composition, the cultural baggage are mixed to create in us a
Photographer, Artist,
superficial connection with the image, that is the studium. But what
Designer and Researcher.
really binds us emotionally to an image is that piece, that little detail
that hurts us, amazes us, challenges us; the punctum.
anaibarrabernal@gmail.com
@anitaibarrabernal Nowhere
The studium gives us answers, the punctum only questions. Ana Ibarra Bernal
@anaibarraphoto
2 0 1 9

At different times and with very different realities, Eleanor Callahan

and I arrived at a registered medium where we can be seen side by
side. She casts a parallel reality in which I could have lived, or from
where they could have traced parts of me.

Given what we see, it is necessary to understand that this

comparison is possible only because someone saw and
documented it. In the case of Eleanor by Harry Callahan, her
husband, and in mine, by me. This opens a range of possibilities and
I no longer relate only to how I look with Eleonor, but because of what
I see and frame with Harry. It is he who gives me the guidelines.
Photographer, Artist,
Today, those parts of them are as mine, as mine are theirs. I am Architect and Researcher.
more and I have more pieces of the temporary puzzle. This time I
found them in the past, in a another opportunity could be in the
claudialayrisse@gmail.com
claudialayrisse.com Claudia Callahan
future. I hope someday I’ll get to put together and answer who I am? Diseño: Claudia Layrisse @clauwho Claudia Layrisse
“Dalí” “Georgia Okeeffe 04” “Peter Gabriel” “Stanley Kubrick” “Marilyn” “Susan Sontag 02”
Analog photography, Polaroid format.
“Nowhere 16” “Nowhere 11” “Nowhere 14”
Digital Photography. LightJet print on Hahnemühle paper.
“Mirror 1,2,0” “Sagrada Claudia” “Eleanor Layrisse” “Our window” “2 much brick” “Harry’s muse”