LISSETTE SOLORZANO’S ART PRACTICE
Lissette’s photos are peculiar, beautiful in their peculiarity. In her pictures you can notice the surrounding environment though it has not been photographed and thus a gesture is sensed, an intention which is not naive or explicitly "objective", but rather breaks the spell of the resounding analogy stemming from it, cheating the haste of the spectator. She does not bring forth presence - does not represent, if presenting again- conventionally speaking- but is always proposing, not even a readymade but rather a remake; thus, there’s a con or two in her photos. Already given in her textural contrasts, (scarcity/spotless), lights and shadows (all photography is eminently baroque in this sense), such as in the objects she poses making them coexist in the rhetoric of a simile, with worn out people, perhaps physically and morally. A photo by Lissette is a double portrait or a tautology, a redundancy within the image itself. The document fades out in the photo because it evokes. And in that moment of disappearance, almost imperceptible, we are captivated. A photography which lets itself be half-psychoanalyzed like all good photos.
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