Mendes Wood DM - São Paulo, Brazil, 2012
From 14 November to 5 may 2012
Designed in 2011 under the Marc Ferrez Award of photographic creation, the Bitácora project studies the wind force scale developed by the british admiral Francis Beaufort, and its peculiar visual descriptions of the wind effect on the land and the sea. It was build a specific camera for filmmaking based on the research of the first wooden submarine, on the first polar explorations and on the Polaroid technology.
From this multidisciplinary experience was published the book “Cuaderno de Bitácora” that combines art, history, science and fiction, and talks about the creation of the low tech camera that was aboard the North Pole expedition. The whole process can be seen through the blog and vimeo.
Bitácora of Letícia Ramos combines her production of
the last two years in multiple relationships with the imagination of adventure,
geographical romance and science ction; full of sense, are put together here
for this solo exhibition her notebook of notebooks and the circumnavigation of
the Arctic Circle.
The show presents three working scales: Polaroids, extensions (almost painting) and artifacts (barometric wind - letter studies on the expedition boat, notebooks, traces and evidence of eld trip) and videos.
Under the supernatural interference of the low northern lights, high frequency of blue and green landscapes made lean their cameras spontaneously capturing effects of Super-8 sci- photography. The explorer gure that doesn’t appear, only shows to the visitor his impressions of his imagery traces Establishing contact between the nature descriptions practiced by Captain Hátteras de Jules Verne in his trip to the North Pole, blunts, from the collection of these stops, the feeling of a new beginning for the world.
One can understand the principle of such a chromatic distortion when we closely observe the wind chemical reactions caused by the high / low pressure differences and by the air mass of hot air and cold white clouds (water vapor).
For this exhibition the artist worked with repeating scales in blocks, between small and large movements, they seem different but are con ned to the same split second frames. Ideally it looks like Letícia Ramos seeks an impossible synthesis of being worked, to have only one scene, as if she was trying to found a new place through a single image, and thus discover the organic-etymological origin of a new imagined continent, its time history, the progress,
The landmark of the stone, The eld of the stone, The image of the stone, The map which is a stone.
Above all, in Bitácora, is given the con dence to really believe the images that are shown from the construction of own optical devices (and not or maybe how to show everywhere images to be displayed).