Portrait, Washington Square Park, 1917
Pears and Bowls, 1916
Wild Iris, Maine, 1927
Wall Street, 1915
Portrait of Georges Braque, 1957
The “full acceptance” of reality is the method and goal of the photographer, observed Paul Strand. However, full objectivity has to be something different from a passive receptivity but must emerge from an active and vigilant attitude that requires the photographer’s control of his subject. Or rather, it requires the coming together of subject and object in the intervening space of the photograph, synthesizing and perhaps transcending both, a mediating space, both familiar and unusual, made of masses and voids, light and shadows, made of the equivalence of presence and absence, of correspondences of vision and forms in the world, of the coalescence of equivalent forms in a frame, of a spatialized time and a space of gradually superposed temporalities.
Marcelo Guimarães Lima