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Lorena Articardi

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CategoryExhibitions, Research and Publications

Paula / Luminous Bodies, 01, from the series Of Sunburns and Sunspots. Read More

Of Sunburns and Sunspots, MoA 23 [2022–2023]

20232023Posted in 120 mm, 35 mm, Exhibition, Exhibitions, Research and Publications, Photography by Elle A

(Notebook Entry.). ‘Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory; and yet, we’re squinting. The ground, its sharpness, the burn. The kiss, your touch, the burn. The sun, the tan, the burn. The salt will help you heal, it’ll wash the sand off your skin.’.

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‘That Which Lies Within the Self’, Uncertain States of Scandinavia 16th Issue

20222023Posted in Exhibitions, Research and Publications, Publication by Elle A

As we choose to no longer stand behind the camera, we do still hear the shutter being triggered at our release; yet all our eyes can remember is that imprinted afterimage, a warm tainted retinal persistence produced by the firing of flashbulbs.

  • Projects
  • Exhibitions, Research and Publications
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Medium

  • Photography
  • Motion Image
  • Sculpture

Info

Lorena Articardi (b. 1992, Italian-Uruguayan), is a visual artist and scholar working with photography and motion images as her primary mediums. Purposely flawed, brutally honest; her subversive practice takes the form of an intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory.

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Statement

Light is inherently restless and, as a light impression, thus is photography. I’m drawn to imagery that isn’t burdened with visual conventions. I look for sunspots –for brutal honesty and deliberate imperfections; for an intentional prevalence of a rough see-through quality.

At odds with the praised fraction of a second, my sight is rather fragmentary. Purposely flawed, constantly dissonant. Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory, and yet we’re squinting.

‘(…) the force of photographic images comes from their being material realities in their own rights, richly informative deposits left in the wake of whatever emitted them, potent means for turning tables on reality –for turning it into a shadow.’. –Sontag, S. On Photography, 1977.

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