Where do people go when they die? But most of all what do they become when we remind them through a picture to die? When we shout to them with a mute click: "memento mori"?
They become witnesses of their own decay. And in a subconscious way they scream their grief out, for a split second they try to escape the inevitable and they become a smudged simulacrum of the self.
It is then when the eerie glances, the disfigured faces and the shattered bodies appear. The erosive process is invisible to the naked eye, until someone finds the courage to reveal it through a lens.
Every picture is a "has been", everything in a picture has already passed away. We just don't know it, until we rip out all the fake appearances, until we evacuate the obvious, until we are willing to share the suffering of the people in front of the lens. (Pictures by Rafael Ianos)
Rafael calls his pictures "Broken Dreams", Moriyama called his pictures fears, D'Agata called them obsession and darkness.
Bottom line, all the above fall under what André Breton termed "convulsive beauty" in the Manifesto of Surrealism.
The same goes for Kertesz's distortions, Man Ray's violin, Atget's shop windows ...
Dadaism appeared post WWI, hand-by-hand with Surrealism as an anti-bourgeois protest "against this world of mutual destruction." As a scream against the madness of collective homicide.
But why now, at times of relative peace, this cyclical re-emerging of the opposite of everything? Why still go beyond aesthetics, offending the established harmony?
It is because almost two centuries of photography could not convince us that perfection in art can perdure. Better technologies, cameras, films, lenses, sensors came to provide crisp images able to be magnified at gigantic levels. And yet, we merrily and happily embrace Man Ray's words: "I would photograph an idea rather than an object, a dream rather than an idea." (Photos by Rafael Ianos)
One day in the city faces become invisible. We don't see them, they don't see us. They pass by us, they pass through us, deconstructed in shadows and mostly out of focus.
But it's not them, it's us who put the barriers, it's us who stop communicating, who start looking without seeing, it's us who will suffer for a long period this lack of vision. Until someone or something will push the panic button, will press force quit and move to trash "Escape yourself, and gravity, hear me, cease to speak that I may speak, Restart and re-boot yourself, You're free to go!"
And then one day in the city faces become visible again. Only that they are transformed, they are not the same anymore, we are not the same anymore! (Photos by Rafael Ianos)
The Bulb Collective consists of photographers active in urban (and rural) photography with an expressive shift to include highly aesthetic and poetic images in their assignments.
βULB goes Athens
Stay tuned to learn in time about the events organised by our team.
SEP 2018: The Greeks
APR 2018: The Romanians
APR 2018: ΦΩS Project2
JAN 2018: BG exhibition
DEC 2017: MSPF 2017
NOV 2017: ΦΩS Project
AUG 2017: VSLO 2017
APR 2017: CY exhibition
DEC 2016: 2nd Photo Contest
NOV 2016: 2nd book launch
JUL 2016: Athens exhibition
JUL 2016: BULB in Kulturama
JUN 2016: Katerini exhibition
JUN 2016: Thess. exhibition
FEB 2016: Bucharest exhibit
JAN 2016: 1st Photo Contest
AUG 2015: BULB at VSLO2015
JUL 2015: CUCAL Exhibition
JUN 2015: BULB 1st Book
FEB 2015: Rural Project
JAN 2015: BULB Open DAY