Editorial | Wanderer on Solis Magazine
O Fashion Editorial Wanderer finalmente chegou!
Este ensaio foi desenvolvido e fotografado em Florianópolis e publicado pela revista americana Solis Magazine.
Um dos editoriais mais especiais que já fiz; a locação é lá em casa, a Renata (produtora) e a Lu (maquiadora) são amigas super queridas, a modelo, um amor de pessoa que tive o prazer de conhecer alguns dias antes das fotos, o artigo escrito pelo amigo Yuri Brah e a tradução feita pela amiga linda da Samile Timmins.
Vou deixar o link para quem quiser comprar: http://solismagazine.net/product/solis-magazine-issue-15/
Abaixo, segue o artigo sobre o editorial, que está em ingles pois ainda não tive tempo de passar para o português – mas em breve disponibilizo aqui para vocês.
If you knew what freedom means, would you still pursue it? Ester Mendes presents us with an existentialist character in a raw world, where colors, hard lines, light, strong contracts and shadows exist synesthetically.
The character portrayed does not writhe. Time does not go by, and the sun never fades away. Wherever there is madness, it is a place of rest, and the photo series introduces a halfway between the place she is running from and where she wishes to go. It represents a poetic moment located in the middle of the way, an intersection of life and freedom that reflects the liberty of escaping.
There is no single soul in the world that has not been stuck between birth and death – not an empirical nor scientific experience. It derives from having a body and knowing the limits it imposes on us.
When examining this artistic work, it feels almost like she is being born. The vesture fulfills its role of delineating where she is coming from, reaching out, and resuming life to what it synthetically is: a great escape. She is born, reborn, and transforms herself. This is not necessarily the romantic story you would like to read. The great poetry behind Wanderer lingers in the character’s search for a great transformation, and however not knowing indeed how to become such transformation.
The character’s vanity leaves us a hint of what this transformation is: time does not go by and it is always sunny, but this does not mean her stay is short – it is not, in fact. The constancy of colors and elements of light suggests the absence of time, anachronism, pictured by the senses of a young photographer and her team.
Then, again, everything is halfway: much is gone, and there still is much to come. The flowers are blooming, but the snow has not yet melted, and the world stops turning. The halfway is the way the character relates to her chance of escaping. The fear of leaving and the fear of staying walk hand in hand. She can embrace the escape, but not possess it – if she has never run away, how can she do it? Can she escape indeed? Youth expires doubts; it is, however, distressful. As Ester Mendes paints the character’s fight for escaping, the question lingers: has she had the courage to do it?
While the character was stuck at the no-time space, agony is what fired up her growth. The drama and frustration of living in a prison after a prison can only be fought with solitude.
The photo session was as comfortable as it can get. A team of friends, honesty, and companionship created a stable and positive environment. The producer was in charge of contacting the brands photographed, and as soon as they heard about the photographer’s proposal, they were on board with the shoot.
The space used was essential to its success. Bringing concrete poetry aligned with evenly distributed elements that are truly minimalistic, the scene is, in fact, an essential part of this narrative. The photographer also finds important meaning in the rooftops of the house where she grew up – she does not live in the city of Florianópolis, Brazil, anymore, but often travels there.
The camera used is a Nikon D800e with 18-105 lens that she carries around wherever she goes. From this geographical and minimalistic trip, Wanderer is born.
Author: Yuri Brah
Translation: Samile Timmins