The plastic artist and photographer Rochele Zandavalli, come, have at
least in the three last years, investing decidedly in the area of the artistic
experimental photography, objectifying studies in several painting techniques
or methods by hand and digitally, as form to produce interferences in
photographs in black -and-white. To the side of this it also started to carry
through experiences in the attainment of the photographic images, with the
accomplishment of projections of slides of the most varied elements of
interference on the models and subjects, in studio environments. With these
ideas and experimentations, Rochele elaborated its final work of graduation
in Plastic Arts, with emphasis in Photography in the Institute of Arts of the
Federal University of Rio Grande do Sul (UFRGS), Brazil.
This work received the denomination from REVISITED FUTURE:
photographic projections, on which she herself explains:

The projected Images

Slides used in the projection had been caught from frames of the Metropolis
film (Metropolis), 1926, of Fritz Lang; The AELITA Queen of Mars, 1924,
direction of Yakov Protazanov; e the two adaptations for the cinema of
histories of H. G. Wells: The War of the Worlds (War of Worlds), 1954,
of Byron Haskin; e the Machine of the Time (The Machine)
Teams, 1960, of George the PAL.

The process of construction of the images

The images created in "Revisited Future: photographic projections"
follow the logic of the impure image. The creation and the presentation
or distribution of these images if give through "complex sets and crossbred,
difficult to categorize", in which the oppositions between the areas that
were established "(for example the oppositions between painting,
photograph, cinema, video or graphic computation), do not constitute
more steady marks for perception and understanding of that if it sees".
The relation with the images is lead, now, for the points of convergence
between the areas. "the interferences, the superpositions,
the transpositions" (DUBOIS, p.5, 2003). The presented photographs as
resulted final are product of transformations of support (and medias)
suffered by the image in this long process: real film (cinema), digital
video, photograph film in slide 35mm (projection), photograph p&b 35mm,
film TRI X pan (Kodak), manual colored (ecoline), digital mode of the colorful of final image
copy in photographic paper hand-colored. The final image is a hybrid product
that brings obtains vestiges of the changes generated in the original
image, when passing for each way. These vestiges, however, are
not perceived, do not leave explicit the process of construction of
the image. The final photographs are created to break of principle of
"visible uncertainty ". At the moment of the projection of slides on
the body of the model, I opted to the constructed pose, in the
measure where I intend with them the representation of a time in
suspension, without concern with the Real, but with a simulation
of the Real." Rochele Zandavalli

Rochele Zandavalli currently is part of our Team, as guest professor
of the Photography Center of UFRGS, for the development of courses
of extension in artistic experimental photography, to have beginning
during as the second semester of 2006. Mario Bitt-Monteiro