The photographer is a solitary creator. She loads his camera and observes a scene; then she chooses a fragment of reality, frames it and shoot. Thought accompanies every movement of the finger on the shutter button. The eye interprets reality, codifies, de-codifies, reality, encoding, decoding, constructing, deconstructing, inventing. The eye watches, investigates, seeks the precise moment in solitude; it uses its intuition, selecting and imagining.
The photographer’s solitude appears again when it’s time to edit; after taking the shots, she must select the best images. It is an intimate, personal process, one involving sensitivity, intuition, years of experience, the books read, the exhibitions visited, the dialogues regarding other images that once were on the table, and the next stop on one’s own personal path – a path that must be chosen.
Visual dialogue between two creators shatters the center of the author’s self and presents something different. Each decision is determined not only by trial and error, but by the artist’s work to make a discourse consistent with previous works, thus constructing a personal visual identity. Correspondence is not a soliloquy; it involves another person who also chooses, who also takes photographs, draws, thinks.
Not words but images as a means of communication. The polysemy of images opens up different courses of action at each crossroads. There is no dictionary for visual dialogue. It does not refer to a previous dialogue, neither is it based on a solid and structured literary tradition. Visual dialogue changes; it moves quickly, at its own pace; its roots plunge into the visual culture of those who enact it.
Correspondence passes through fluent and stagnant moments, at times immediate, at times slow, protracted communications.Without losing its playful nature, it moves through difficult moments.
There is doubt, provocation, spontaneity. There is surprise, pleasure, frustration. If the author frees himself from the weight of being the main reference in his own creative self and attempts a shared visual construction, photography and the creation of images become similar to musical interpretation. The result is a duet of images without a musical score, an improvisation; a visual composition, a subjective narrative which is open to interpretation. It is a poetic that brings images to mind for a third party, the onlooker, allowing her to associate these images for herself. The sum, then, yields three, a number much higher than one.