In Sobremarinhos, gradations of the sea are fragmented and rebuilt by the Brazilian artist; developed in Rio de Janeiro and Pernambuco, the project was sponsored by the Marc Ferrez Prize. In “American Journals”, published in France in 1978, Albert Camus shares the records of his journey to Brazil in 1949: “The surface of the waters are slightly illuminated, but you feel their profound darkness. That’s the way the sea is, and that’s why I love it.” Establishing a relationship with Camus’ solid universe, Brazilian photographer Gilvan Barreto’s latest book Sobremarinhos has just come out in Brazil. The artist celebrates 20 years of professional trajectory. Dragged by tidal forces, he develops image experiences that verges on tension, chaos and harmony. Gilvan emerges from the waves assuming a poignant and mature facet. Sobremarinhos concludes a trilogy started with the book “Moscouzinho”, and followed by “O Livro do Sol”. Each with their peculiarities, they share in common an approach to lifecycles, a wish to infiltrate cinema and literature in photographic processes”, says Barreto. In its format, the book also reproduces the dynamics of tides. Pages can be skipped or alternated so that new shapes arise from each contact. “Each life has a rhythm, a route. In this book, pages are foldable and can be suppressed, alternated, and the story can be retold and reordered so that each reader gives it a beginning, middle and end”, says Gilvan. Aligned to this idea of flow, an action is proposed to the readers: to let the publication pass ahead, mapping its ways through social media.
Publisher: Self published