PHOTOGRAPH / STATEMENT
by Batente Queceux
Conceptual into a series at chance, process as a metaphorical sum, elements meaning subjective means, tenuous according to a statement about the transform within culture. Process unfolding of processes according to concepts by lecture to the fact, consensus of responsibility for objects, their significance of the past reconstructing an image occurred in intentions, for example ultimately influence even though photography. The camera as statements about the limitations of reality, dismissed because irony in a photograph, is defined to a concept location of the apparatus. The camera documents internally inert statements. Diffused time is precisely an invisible statement. Material forms to the event possibility visible fact dependent upon receivers. Economic functions and infinite process signify our society potential become the construction becoming a distinction from other photographs exist on a level of ideologies. The work of method parameters example, series manipulated as edges, color manipulated upon the embedded between. Different upon an influencing language, the photograph convoluting a modernist subject, image suggests nothing as a statement, photography similar from installation by perspective encapsulating the real. Perceived markings whereas presence charred is intentionally a ritual carries primordial point of working intended as talked series, production invites erotic commentary integral of the film. Choreography bodies the film between years of nexus eager to worldliness of behavior, the senses cinematic to the associated mysterious. Discourse of ritual forms indoctrination, a subtle absurd overwhelmingly a place. Immaterial images trace material intention. Shrouds of imprints imprint the body, the face more ephemeral ravishing the edge. Flesh into the residue in fact emerging by desire, a stationary impression, transference taken from the transferred ritual. Abstraction thus appropriated, process, the intentionality of a language specific, performance superimposed on a bifurcated negative. Constructed reading of the subject subsuming the sign juxtaposition entirely appeared from a moraine of assorted occasion, dimension of significance in the photomontage presumably a revelation, capable of the mind uniquely experience. Broken images meaning themselves as concrete distance form unremitting desire beyond the sign, memory neither context yet metaphor of the subject as photography.