Birds.
Xavier Barral| N° d'inventaire | 22315 |
| Format | 21 x 26.5 |
| Détails | 97 p., cloth bound. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782365112475 |
A leading figure in Latin American photography, Graciela Iturbide creates images that oscillate between documentary and lyricism: "I try to find photographs with movement but which, at the same time, have something to do with something familiar." Off-center framing, graphic effects and powerful shadows create a poetic universe where the feeling of strangeness mixes with that of a raw reality. The powerful balance of her compositions reveals skies saturated with birds, comical and unexpected situations where chickens wait patiently on market stalls, where pigeons argue with monkeys, elsewhere there are moving clouds that resemble real living organisms with supple and fluid movements. For Iturbide, living birds represent freedom. But death is never far away and neither is a certain surrealist spirit. Dead birds lined up on a piece of sidewalk, predatory birds waiting for their prey in the middle of the desert, crows flying over dry trees, inert tits perched on a woman's eyes: Iturbide's photographs are often enigmatic paintings. The organic dimension, linked to blood, flesh, mud, sweat, or even earth, also permeates most of her images. The photographer maintains a particular relationship with reality by capturing singular moments. Birds and people coexist, rubbing shoulders with each other. From India to Mexico, from seafronts to urban terraces, seagulls, eagles, pigeons, herons, and crows invade human space or slip in unexpectedly and solitarily. Graciela Iturbide's birds arouse both attraction and repulsion: their fragility, but sometimes also their threatening power, challenge and seduce.
A leading figure in Latin American photography, Graciela Iturbide creates images that oscillate between documentary and lyricism: "I try to find photographs with movement but which, at the same time, have something to do with something familiar." Off-center framing, graphic effects and powerful shadows create a poetic universe where the feeling of strangeness mixes with that of a raw reality. The powerful balance of her compositions reveals skies saturated with birds, comical and unexpected situations where chickens wait patiently on market stalls, where pigeons argue with monkeys, elsewhere there are moving clouds that resemble real living organisms with supple and fluid movements. For Iturbide, living birds represent freedom. But death is never far away and neither is a certain surrealist spirit. Dead birds lined up on a piece of sidewalk, predatory birds waiting for their prey in the middle of the desert, crows flying over dry trees, inert tits perched on a woman's eyes: Iturbide's photographs are often enigmatic paintings. The organic dimension, linked to blood, flesh, mud, sweat, or even earth, also permeates most of her images. The photographer maintains a particular relationship with reality by capturing singular moments. Birds and people coexist, rubbing shoulders with each other. From India to Mexico, from seafronts to urban terraces, seagulls, eagles, pigeons, herons, and crows invade human space or slip in unexpectedly and solitarily. Graciela Iturbide's birds arouse both attraction and repulsion: their fragility, but sometimes also their threatening power, challenge and seduce.