The focus of this press release is to bring thoughts on the series of photographs of photographer Carlos Alves de Sousa (BYKYNYS IN NEW YORK), entitled [Reflexions IN FINE ART], created by the repetition of images that fit together to form packages of work exposure. In an attempt to elucidate issues of praxis, is relevant to analyze the creative process by which the work is done and even the concept of repetition as its set up.
The act formalized groups of images is intended to provoke a reaction in the imagination of the viewer, since the labyrinthine structures encouraged to think of their meanings. Each set contains photographic images repeats itself, in which the formal order is chosen depending on the weight of their similarities and differences.
What the photographer wants is organizing geometric designs built by horizontal and vertical lines, curves, waves and sequences.
These lines of course do not indicate a single path to enjoy the work because the linear path allows displacements in all directions: from top to bottom, left to right in an attempt to recognize the significance of the associations between the images.
This first contact with the photographs raises a desire to seek new mail before we see, that is, a new crop that the whole objective. Between the rows of juxtaposed images, there are small gaps, voids, which determine a strategic stop, since the eye is suspended from and then invested in new enjoyment. The lines are the arrangement of elements and weave a fine game, in which the senses perceive and subvert the images in infinite possibilities for the look.
The artistic process is revealed at the same time, creation and discovery. In work in progress, there is the chance and many avenues for implementation, each seemingly provocative and seductive. Work begins to build physically after the capture of images is made and processed.
These photographs are fictional narratives of trajectories originating motion pictures. The puzzle is coated by the photographer suggested the sense of play in the sense of formal play, and also the game of pleasure, and pointed out when she rides back, distributing the pieces to create a new space. With each new series, the images carry their own features and incorporate new information.
The structure of the work, geometrical and orderly manner, becomes a unity in which diversity and similarity creates tensions within. The hybrid nature of their complexion brings out significant repetitions, that is, each line drawn will never be the same, since it does not return to the same place. Carlos Alves de Sousa looking through the variation of repetition in the sense of "eternal return" appears as a repetition, because what happens is always different from what has been seen.
ADAM LEVISKY
THE AMERICAN INSTITUTE OF ARTS
