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At Tira-Olhos, an association created in July 2019 by a group of experimentalists, we practice slow photography. It is mostly a cameraless photography in which we seek to explore dialogues between the reality experienced and the processes chosen to reveal the sensory nature of that experience. We deal with issues related to meaning and representation: we start with referents and seek to give them meaning through different procedural modes, working with supports, shapes, textures and colors. It is also, essentially, a practice with several stages, where experimentation and contemplation are always present.

Much like the processes carried out at the beginning of the history of photography, the times of the images created by us are those of a symphony without a beat. As we dedicate ourselves to this slow photography, we discover that this workflow contaminates our entire structure and, therefore, our entire being.

As we grow roots in the atelier, we try to keep the urgency of chronological time out. Here, time is a subjective experience, internalized and revealed according to corporeal and environmental time. Here, we let photography, as a mediator, transform us.

We work with different technologies, commonly referred to as alternative processes. But this concept is of little value to us. Alternative to what, if nothing else comes naturally? We prefer to address an idea of slow photography or consented photography, i.e., a way of making images that seeks representation through the relationship between objects and the processes chosen to reveal them. We resort to anthotype, cyanotype, lumens, salted paper, wet plate dichromated gum, among other processes, trying to get the flow to lead us through the creative experience.


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Raw Material

Spontaneous vegetation runs through our work, both occupying the place of reference as well as incorporating the chemical formulas with which we explore the creation of stain and color.

We strive to glean in line with what nature puts at our disposal, respecting her rhythms. This practice also contaminates the way we look at all printing supports and presentation devices.