Contemporary photography has a strange capacity of disorientation. At times, it is too obvious and raw, offering itself to the different creative possibilities of interpretation; at other times it mainly belongs to the order of mysteries in the world of representation, either for its elaborate construction process, either for its radical visual experience, giving the image an enormous power of seduction and persuasion. In this differentiated photograph in terms of production and apprehension, that has an assured presence in the visual arts’ panorama, we can locate the work of Cássio Vasconcellos.
In this series, as well as in the previous ones, Vasconcellos permits himself to make experiments of all orders, accomplishing some interventions that allow a research of the different results offered by the photographic language. Once again, he chooses the technical simplicity when making the register, and afterward he begins an investigative course quite uncommon in the Brazilian photography. His goal is always to search for a certain abstraction in the image, to leave the observer in the limit of the ecstasy of disturbance. Vasconcellos defends the idea that the most fascinating in photography is exactly this intriguing possibility that it offers, operating in the frontiers between «real» and «imaginary.»
Rubens Fernandes Junior
Photography researcher and critic