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Gabriela Concha

Title: Angle Zero

Project type: Personal project started in Lima, Peru and was later followed in a three-month residency in Arles, France.

Technique: Fractions of digital photograph comprised into one image. Inkjet printed on Epson glossy paper. The pictures are later cut by hand.

Cities: Lima, Arles, Marseille and Köln

Years: 2012 - 2014

My work inquires the rational order we give to what surrounds us as a refugee towards our own disorientation. My proposal is to use photography to question what we perceive and to construct new representations of space that we overlook.

“Angulo Cero” looks for an alternative vision of space and it’s representation in photography. Unlike the study of space in Renaissance and it’s influence in photographic representation, the project subverts the single point of view and proposes a visual alternative we can’t embrace as observers, nor can we access it with the conventional use of a camera. My intention is to take distance from the classical heritage of photography to construct a new off-centered image that can’t be completely apprehended by the eye.

For this to happen, a rule was stated to take pictures of spaces with complex geometrical perspectives, with the intention to modify their original form. A dolly was used to move the camera from one side to the other of the chosen space, and pictures were taken 1 inch apart from each other in a straight horizontal line. Considering the depth and width of the place, a thin strip from the center of each photograph was kept and was later put side by side with the other central strips. As a photographic result, I obtained the connection of many adjacent focal points, many joined centers that created a new geometry.

The way of taking the pictures can be considered a new study of perspective due to its aim to compose a new spatial structure using a strict rule. Even sabotaging a rational order, the method used is rational, and limits even more the photographic viewing angle.

The camera is used to revert its functionality; its inherent spatial perspective is broken and the visual theory of perspective is canceled.