In partnership with Photomed Festival, LensCulture is pleased to present a series of preview articles highlighting various parts of the upcoming festival’s program. The festival will run from May 26 to June 19, 2016 in Sanary-sur-Mer in the south of France.
Also: if you would like to have a chance to exhibit your work at the festival (as well as in Beirut, Lebanon), learn more about their “Mediterranean Spirit” call for entries.
Here, we present two series from the Italian photographer Ivana Boris. The first, titled “Thru Sandhya” takes place on the choppy, chaotic, beautiful sea—but above the waves. The second, “Rituels Originels” captures the inky, calm darkness of the world under water. We have included two excerpts of text, one from each project, to provide some context for the work.
Thru Sandhya: Above
Walking along the edges of cliffs, stunned by wind and soaked by spray. Indistinct destiny.
The vessel gets under way, leaving behind the lights and sounds of the mainland. Far from shore. Through the Mediterranean, then the Ocean. Horizon, the only landmark. Consciousness opens onto infinity, sensing a possible truth that demands form and silence.
—Ivana Boris, 2015
Rituels Originels: Below
Is there a difference between the survival instinct and a warrior’s ritual? The silvery fish, like a Japanese or African mask, reveals or conceals itself according to whether it’s defending itself or attacking its prey. Genuine samurai or tribal warrior, it affirms itself in its vital ritual.
For Ivana Boris, this is a source of complex images and, simultaneously, a quasi-Zen proof for the viewer in search of the absolute. In this group of photographs, she short-circuits our everyday rituals: appearing and disappearing, attacking and defending, communicating or abstaining.
In Boris’s works, anyone can find a basis for questioning the close relationship that exists between human consciousness and animal instinct, between our mind-determined rituals—and those that are original.
—Alain Renner, 2013