SAINT APOLLONIA OR THE INEQUALITY OF CLAUSIUS [2012]

In 2004 I started to get interested in the taste of the deep colonial past of Lisbon, where Angolans, Mozambicans and Europeans live in apparent normality and with an envious level of social integration. In that same year I wrote the article but as I came back I knew that I would return to Lisbon.

Normally, I plan my photography projects in advance of the entire infrastructure that develops them; in this case the circumstances interfered to give a new meaning to the project.

“The flow of things” wanted me to imagine this second trip during three long years, delaying it until August of 2007. “The flow of things” also wanted that, a short period after my arrival, I found myself thrown in the foyer of the train station “Santa Apolonia” with my ankle destroyed and my right foot plastered.

Fuelled by a strange blend of physical pain and frustration, I felt, for the millionth time, the execution of a universal law as unstoppable as ignored by our culture: everything tends to destruction and disorder. Life represents an organization level so insulting for universal chaos that to be born is to start to deteriorate as death approaches. This means that our existence is no more than a mere transit towards what?

Thrown on the floor of the lobby I clung to my camera, I took its viewpoint, as mine had changed and not only spatially. Its sensor stopped showing me integrations, marginality, metropolis, colonial characteristics. Instead, it showed only people, who, unknown to the superior laws that controlled them, lived their life playing, dreaming, planning, searching, observing, wandering, migrating; ignorant that the future only exists in their imagination and that, either way, imperceptibly or tragically, now or after, that omnipotent law, the Inequality of Clausius will end up prevailing uncompassionately.

It seems curious to me to observe how my project has been influenced by this spirit, reinterpreting instants taken in the first trip; like if a change in perspective with retroactive changes had occurred. This is one of the magical aspects of photography which keep me loyal to it.

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