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Matter, Memory and Machine: The Politics and Poetics of the Gaze in Edson Chagas’ ‘Factory of Disposable Feelings’

This series continues the investigations that singularise Chagas’ work, namely the attention to the experiential and affective relationships that subjects establish with everyday objects and spaces, countering fast rhythms of consumption through a decelerated gaze that closely scrutinises discarded materials, shapes and textures. However, the series simultaneously marks a kind of turning point, insofar as, unlike previous series carried out in various urban public spaces to the North and South, vaguely identified (the streets and beaches of Luanda, Venice, London and Newport, etc.), in this series, for the first time, the photographer focused on the indoors and outdoors of a specific architecture.

I'll visit

29.09.2022 | by Ana Balona de Oliveira

Photography and Identity. Interviewing Theo Gould

My work has always been focused round connection. I’ve always wanted to tell stories that even though you know the audience and the subject might be different I would want the audience to look at the photo, the subjects, and each detail and for them to be able to see something similar. Most people that look at my most recent project “MIXED” and probably don’t necessarily think of themselves as mixed, however if we really look back at history and ethnicity it’s clear that we are all mixed, we just haven’t identified it . We all came from Africa and our genetic disposition is remarkably similar. The only differences we notice are as a result of our ancestors colonising different parts of our planet. Effectively we’re all mixed as racial purity is a complete myth.