“The between-bodies is their images’ taking-place. The images are not likenesses, still less phantoms or fantasms. It’s how bodies are offered to one another, it’s being born unto the world, the setting on edge, the setting into glory of limit and radiance. A body is an image offered to other bodies, a whole corpus of images stretched from body to body (…)” (Jean Luc Nancy, in Corpus, 1992)

Portraits were seen between the images
2009-2010

Regarding the photographic portrait as an act, we should consider it as an inter-action, as something physical and corporeal, taking place within a certain material space which is invaded or constituted by the photographer, by their body, by their gaze, by the presence of the camera. And this is the space where to the subject also enters. If we think about this space inhabited by subject and photographer, where they engage, the photographic portrait (as an act) becomes necessarily centred on their physical and visual movement, on their bodies who construct themselves before each other, who are also subject to that space, within the being and doing of the portrait.

So, we have here an idea of the photographic portrait as a performance. Photographer and subject construct themselves physically (and mutually) both as subjects in the field of vision, as a connection and projective movement of representation of their bodies in the visible world. The photographic portrait exists in this encounter, in this confrontation and cooperation, and the space of the image is the stage for this convergence.

We can take this idea towards the definition of a pose, not as something static, but instead as a motion, as the taking of the image by the subject in their body, and as an oscillation between tension and equilibrium. The subject, in their pose, physically assumes and projects their relationship with the world and the other, before the body of the photographer, in the presence of the camera.

Thus, we near our understanding of the image to that of an utterance, and to a displacement.

Manuel Francisco Sousa, 2010

The images in this project are produced through photographic process in a single exposure, without layering or montage. This exposure is variably lengthened so as to make visible an element of duration of the portrait.



Ticiana #7, October 25, 2009, 18:17:06/18:17:11 (5″), 2009



Ticiana #6, October 25, 2009, 16:29:49/16:29:54 (5″), 2009



Ticiana #4, October 26, 2009, 14:28:53 (1/125″), 2009



Lisa #1, September 20, 2010, 16:36:28/16:36:29 (1″), 2010



Lisa #3, September 20, 2010, 16:18:35/16:18:40 (5″), 2010



Kseniya #1, September 19, 2010, 15:21:34 (1/60″), 2010



Alzbeta #9, January 24, 2010, 18:57:41/18:57:47 (6″), 2010



Alzbeta #10, January 24, 2010, 18:55:33/18:55:39 (6″), 2010



Alzbeta #4, January 24, 2010, 19:04:28/19:04:32 (4″), 2010



Edyta #2, February 25, 2010, 15:53:58/15:54:03 (5″), 2010



Laura #5, December 16, 2009, 16:19:28 (1/125″), 2009



Laura #6, December 16, 2009, 16:17:17 (1/125″), 2009



Laura #1, December 16, 2009, 16:45:51/16:45:56 (5″), 2009



Marcelina #4, March 27, 2010, 17:16:00/17:16:10 (10″), 2010



Susana #1, May 29, 2009, 15:11:03/15:11:07 (4″), 2009



Susana #3, May 29, 2009, 16:22:31/16:22:33 (2″), 2009



Anna #1, September 18, 2010, 14:34:47/14:34:55 (8″), 2010



Anna #2, September 18, 2010, 14:28:07/14:28:12 (5″), 2010



Jana #4, March 14, 2010, 19:51:46/19:51:51 (5″), 2010



Oksana #1, September 21, 2010, 12:57:15/12:57:16 (1″), 2010



Oksana #2, September 21, 2010, 13:03:06 (1/4″), 2010



Mariana #1, September 21, 2010, 16:09:16/16:09:18 (2″), 2010



Mariana #6, September 21, 2010, 16:05:02/16:05:03 (1″), 2010



Mariana #7, September 21, 2010, 16:09:24/16:09:26 (2″), 2010