Falso Sol, Falsos Olhos
31.01.2021
31.01.2021
Catalogue of the exhibition Fake Sun, Fake Eyes, a solo exhibition by Élisa Pône, which was on view at Galeria Quadrum between 21st November 2020 and 13th January 2021. The exhibition has been curated by Estelle Nabeyrat. This bilingual edition (Portuguese and French) features an introduction by Tobi Maier, texts by Estelle Nabeyrat and Rita Barreira as well as an insert with a concrete poetry intervention by António Contador. This publication furthermore features photographic reproductions of the works exhibited and a record of their installation.
The taste of sun and resin
14.01.2020
14.01.2020
During summer 2017 Riccardo Pietra ordered a surfboard to Laurent Plume d'Avion.
I was the link between them, i went to France with Riccardo's instructions, and came back to Portugal a few month later with his new handshaped board in my van.
I shot a dozen rolls during the whole process, from Laurent's shaping room in Brittany to Riccardo's first waves with his new longboard in Baleal.
Here is a little film that compiles 372 pictures, all shot on film, processed and scanned by myself.
The music is an unfinished demo of mine that i was keeping for a next EP.
The board is 9'6" x 22" 1/2 x 2" 3/4, shape and glass by Plume d'Avion, fin by Deflow.
I was the link between them, i went to France with Riccardo's instructions, and came back to Portugal a few month later with his new handshaped board in my van.
I shot a dozen rolls during the whole process, from Laurent's shaping room in Brittany to Riccardo's first waves with his new longboard in Baleal.
Here is a little film that compiles 372 pictures, all shot on film, processed and scanned by myself.
The music is an unfinished demo of mine that i was keeping for a next EP.
The board is 9'6" x 22" 1/2 x 2" 3/4, shape and glass by Plume d'Avion, fin by Deflow.
Swell maps
30.06.2018
30.06.2018
All the photos are handmade gelatin silver prints on 40 years old discontinued Ilfobrom paper.
To fit the technical restrictions of such an old paper, and also in search of new graphic qualities, several intermediate steps of low-cost photocopies and heavily processed films were needed to obtain the final negatives.
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The serie was exhibit in summer 2018 in France at Galerie Artem (Quimper/Fr) and Atelier Raum(Nantes/Fr).
To fit the technical restrictions of such an old paper, and also in search of new graphic qualities, several intermediate steps of low-cost photocopies and heavily processed films were needed to obtain the final negatives.
The serie was exhibit in summer 2018 in France at Galerie Artem (Quimper/Fr) and Atelier Raum(Nantes/Fr).
Death to shoes
12.02.2018
12.02.2018
A film by Miguel Constantino, starring Riccardo Pietra & Carlos Miguel.
Shot on film, super 8 and 35 mm photographs.
Telecinema by Gauge Film.
Music by Stephane Laporte, Domotic "Rite de passage".
Shot on film, super 8 and 35 mm photographs.
Telecinema by Gauge Film.
Music by Stephane Laporte, Domotic "Rite de passage".
The exact color of doubt
24.06.2017
24.06.2017
Limited by the offer of the actual silver halide color papers, i developed an experimental process that gives me a greater control on the tones and contrast, but also explores new graphic qualities.
After processing, the films are scanned and converted into CMYK to obtain four distinct layers: cyan, magenta, yellow, and black. This quadrichromic separation gives a large color pallet when used with the substractive color model, like in photogravure or in the Dye-Transfer process used by William Eggleston, but abandoned by Kodak in 1994. Each layer is converted to grayscale and inverted to obtain a negative, which is print as a black and white A3 photocopy.
The color head of the enlarger permit to expose the photo paper to each color of the CMYK mode, by using a precise combination of filters and exposure time specific to each color. To "recompose" the original image, the photosensitive paper is exposed four times, by contact print, with each photocopy associated with the corresponding filter setup. The paper is then passed into the trays of color chemicals (RA4), first the developer, then a bleach/fixer bath. Unlike the black and white silver gelatin paper, the color paper must be manipulated in complete darkness, from the moment it's taken out of his box, until the final rinse bath.
After processing, the films are scanned and converted into CMYK to obtain four distinct layers: cyan, magenta, yellow, and black. This quadrichromic separation gives a large color pallet when used with the substractive color model, like in photogravure or in the Dye-Transfer process used by William Eggleston, but abandoned by Kodak in 1994. Each layer is converted to grayscale and inverted to obtain a negative, which is print as a black and white A3 photocopy.
The color head of the enlarger permit to expose the photo paper to each color of the CMYK mode, by using a precise combination of filters and exposure time specific to each color. To "recompose" the original image, the photosensitive paper is exposed four times, by contact print, with each photocopy associated with the corresponding filter setup. The paper is then passed into the trays of color chemicals (RA4), first the developer, then a bleach/fixer bath. Unlike the black and white silver gelatin paper, the color paper must be manipulated in complete darkness, from the moment it's taken out of his box, until the final rinse bath.
Exhibition at Galerie Artem, Quimper, France, June 2017.
