The Breathing Camera. The body in artistic practice and in the landscape.
The premise of the workshop is that there is no image separate from the filming or photographing body: creativity is fueled by physical sensations and strong feelings that arise from deep feeling, altered state, and connection with the body entangled in space.
The desire is to immerse oneself deeper, especially in the landscape, to become one with the camera (or photo camera) in time and space: the camera tool becomes an extension of the body that opens to dialogue with the world. The spatialization of time and the temporalization of space open the possibility of capturing what is otherwise elusive. By placing ourselves in listening, focusing on sounds, we can then allow ourselves to be led to “places” where the habit of looking does not lead. In the temporal capture of the moving image, the senses interpenetrate.
To place oneself in a physical relationship with the instrument. Learning to wait, to dive into the landscape, to listen, to let the moment flow so that “the action” comes to fruition, resisting the temptation to shoot when we think “Moment stop: ‘you’re beautiful!’”
In shooting the moving image sometimes it almost feels like dancing. The foot must adhere to the ground, if we then walk with the camera hand-held, the knees should be slightly bent, and the pelvis low, we should walk on the same horizontal line, without creating sway, breathing slowly. The camera becomes a thin membrane that adheres to the body, exposing us to the risk of the imperfect image, but it is precisely in taking on this challenge that we travel new paths and open up to the world.
In my workshop I invite the participants to work on the body through all the senses and then use the camera.
The premise of the workshop is that there is no image separate from the filming or photographing body: creativity is fueled by physical sensations and strong feelings that arise from deep feeling, altered state, and connection with the body entangled in space.
The desire is to immerse oneself deeper, especially in the landscape, to become one with the camera (or photo camera) in time and space: the camera tool becomes an extension of the body that opens to dialogue with the world. The spatialization of time and the temporalization of space open the possibility of capturing what is otherwise elusive. By placing ourselves in listening, focusing on sounds, we can then allow ourselves to be led to “places” where the habit of looking does not lead. In the temporal capture of the moving image, the senses interpenetrate.
To place oneself in a physical relationship with the instrument. Learning to wait, to dive into the landscape, to listen, to let the moment flow so that “the action” comes to fruition, resisting the temptation to shoot when we think “Moment stop: ‘you’re beautiful!’”
In shooting the moving image sometimes it almost feels like dancing. The foot must adhere to the ground, if we then walk with the camera hand-held, the knees should be slightly bent, and the pelvis low, we should walk on the same horizontal line, without creating sway, breathing slowly. The camera becomes a thin membrane that adheres to the body, exposing us to the risk of the imperfect image, but it is precisely in taking on this challenge that we travel new paths and open up to the world.
In my workshop I invite the participants to work on the body through all the senses and then use the camera.