Morocco hide and seek.
Project info

This project is about the mystery, a culture veiled but not totally covered. I was on the track of colors compositions, those special tonalities that pervade everywhere here, that play a leading role in creating the extraordinary atmosphere of Morocco. I'm fascinated by unexpected harmony, the coincidence between the candid life elements, people's movements, gestures that create a hidden labyrinth of layers. I was following the tiny line between light and shadow, researching what is not easy to be seen and to be understood on the cultural level in the country where still many people consider photography as a medium that can steal their spirit. This project is about patiently waiting, to be slowly able to get into enchantment. It is about the theater of everyday life, where the usual “common” recovers its weight and meaning of art. My personal interpretation of the energy of places and the abstract nature of things. I was trying to discover the culture, deeply hidden in the details, so in this way, it would be capable to preserve itself from tourists' consumption.

Editor review
Hello Paula:
Thank you for the opportunity to review your series of images. It is apparent that you are fascinated by the light, color, architecture and people of Morroco.
Your sophisticated sense of composition reminds me of photographs by Henri Cartier Bresson. But here, color adds a new dimension. The identity of your figures are veiled, hidden, and I get a sense of loneliness or isolation due to their anonymity. You seem to use these figures to create tension in this project. Two of your most successful images in this regard are the second and the last in the series. In image number six you cleverly divide the frame using light and shadow. The bold sequence of primary colors (red, yellow, and blue) immediately lead our eyes to the figure near the centre of the frame. In image ten the shape of this persons hat is echoed in the rhythm of the shadows to the right of the composition. Image number nine feels a bit out of place because of the car. This is the only hint in your photographs that suggests these were made in modern times. Because of this, there is a strong sense of nostalgia present in this series.

You use the camera like a painter. You seem less interested in the ability of the camera to provide evidence or details regarding daily life in this town. While I appreciate this painterly approach, I wonder if there is something more important stirring beneath the surface? You mentioned this is a culture that still believes one's soul might be stolen by the camera? Do your images reflect a certain set of values upheld by the Moroccan people. Can you elaborate more on this in your artist statement? What do you want people to learn about Morocco if they've never had the opportunity to visit? I think that your images are beautiful, but you might find more success with curators, publishers and gallery directors if you are able to carefully articulate the importance of your work in your artist statement. The important and valuable work will rise to the top.
As photographers we have the ability seek out those invisible things in the world and use our camera to make them visible—to deliver something new or unseen to the world. You are on track with this project. Continue to develop strategies to build complexity into your projects. Good work!