ElefanteCidadeSerpente [ElephantCitySerpent]

In my everyday life I find the images in ElefanteCidadeSerpente [ElephantCitySerpent]. I look for traces of a urban man and I take his objects and spaces to myself. Situations present themselves in obvious casual actions. Exploring human tracks, I see just how particular anonymity in large cities is, and just how my subconscious disrupts everything. Everything that is interior becomes exterior, suppressing the boundaries between reality and imagination. Building images, I summon other worlds, suggesting reality dimensions often enigmatic. In this environment, my spectator is invited to decipher them. Occult, paradoxical, and subversive photography. Abstract superposes figurative. A saturated context. The real world becomes a virtual world. Fernanda Chemale Cities and Their Expressive Cracks To see the city, to record its daily life, to feel its irritating pulse, to sense its unrelenting movement. When you see a city, you do not necessarily see truth. This is precisely the main idea that passes by Fernanda Chemale’s ElefanteCidadeSerpente [ElephantCitySerpent], where she took up the challenge of creating a photographic collection of cities today without committing to photographing buildings, avenues, people; in short, the socio-cultural history of urban spaces. Her images are icons of a walker’s purest momentary ephemeral sensation. Fernanda decides to look at the city by photographing it in a speedy-zapping vision, allowing us, her readers, to be partially responsible for putting together her amazing kaleidoscopes. Her sharp perception, combined to a fantastic sense of fluid, plastic unity, allows heterogenic and discontinuous elements existing in contemporary metropolis to emerge as synthesis materializing her free expressive gesture. Rubens Fernandes Junior, Photography researcher and critic