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Inside a darkroom. Carefully, the photographers open a small hole in one of the fabrics, which have been used to cover up all windows and gaps. As if by magic, the city suddenly onslaughts to the walls. The inverted image of São Paulo is projected onto rooms located at quintessential buildings of São Paulo.
The photographers sense their work before it becomes their work. They gaze at their picture while it turns into their photograph, minutes of exposure seeming like an eternity.

As in the purest Abelardo Morell’s trajectory, Pablo Saborido and Paula Muniz portray domestic scenes with the dual fascination of the fetishist and the urbanist. The gigantic scale finally meets the insignificant detail. Confronted or in love, the former contaminated by the latter.
Emblematic buildings such as Copan or Itália, private dwellings and hotel rooms, Avenida São João and the Republic Square. The more accurate picture of all of them lies in what they see and what they reveal of themselves, in the spectacle they offer and the spectacle they observe.

If the outside is inside, the interior must be there because of the outside. And if buses drive along the bed and clouds dance with the floor tiles, what prevents the bed from overtaking buses and the photographers from dancing above clouds, before the room returns to darkness again.

[translation from text by Isabel Martínez Abascal]

[all images> Camera Escura. courtesy: Pablo Saborido]

One Comment

  1. Awesome! How they’ve carefully fitted this to each room makes it particularly effective. Ceiling=ground, floor tile=cloud, as you say. From the images, it looks like some thought was put into matching each image with each room/furniture. Maybe not? Love the ladder and that forlorn potted palm.

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