When we like someone, this person is detached from time and gains a specific temporality. All the history, the places, the faces, all we sense passes trough us in a continuous flow, un unstoppable movement since it’s the same that keep us alive. But this flow behaves with different rhythms. The one we like doesn’t passes by fast, but stay standing in it’s own time. Follows side by side in silent dialogues confirming that our existence depends on others. So much that we retard this time flow to keep it at the stretch of a hug.
Photography interrupts our existences continuum. And that’s the miracle of this technical image: the flow, even interrupted, won’t stop, and pulls from us the temporality that needs to communicate. It’s like a hug changing the order in a public situation and highlighting from our conscience a fragment of sociability.
Citation of José de Souza Martins: “photography doesn’t documents the quotidian. It’s part of the imaginary and fulfills the functions of revealing and concealing in daily life. Therefore, people are photographed represented in society and represented to society. Photography documents, like an actress, the sociability like dramaturgy. It is part of staging.”(MARTINS, José de Souza. O Retrato do Ser Fragmentado. In: Sociologia da Fotografia e da Imagem, São Paulo: Editora Cotexto, 2009, p. 43-47)
This series aims to question our affective boundaries. A provocative reflection on how we let ourselves love, give, take and connect with the other. It presents a gesture that arises from relaxation an materializes in a deep connection with the other: In public spaces men hold their best friends in long hugs, perturbing the environment in a encounter many times inedited for them too.
Winner of XIII Marc Ferrez Prize
Text written for Marc Ferrez prize 2013 by Pio Figueroa, Julia Maia and Calé.