Dark Silence In Suburbia

Monday, June 24, 2013

Lucas Simões


In this series of works I invited intimate friends over to tell me a secret as I took their portrait. However, my intention was not to hear their secret, but to capture the expressions of each one at the moment they revealed their secret. I also asked each one to choose a song for me to listen to in my ear phones while I photographed them. And, after the photo session, I asked each one if the secret had a color, and these are the colors the portraits carry. From this photo shooting session I chose 10 different portraits to cut and overlap. 

Oltemare. 10 cut-out photographs and acrylic sheets, 41 x 31 cm.
A Canção que morre no ar.
"Morre no ar
Um resto de canção
Um resto tão sereno
Tão quieto de paixão
Brinca no ar
Um sempre mesmo adeus
Meus olhos são teus olhos
Para nos ver..."

Minhas lágrimas.
"...um pacífico turvo
a asa do avião
o tapete cor de poeira de dentro do avião
a lembrança do branco de uma página
nada serve de chão
onde caiam minhas lágrimas" 

"Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis..."

"I said, "Rock, what's a matter with you, Rock?"
"Don't you see I need you, Rock?"
Lord, Lord, Lord
All along dem day

So I run to the river, it was bleedin'
I run to the sea, it was bleedin'
I run to the sea, it was bleedin'
All along dem day"

Tonight, tonight.
"time is never time at all
you can never ever leave
without leaving a piece of youth

and our lives are forever changed
we eill never be the same
the more you chance the less you feel..."

Extremo Sul.
"...O céu azul
Que te escondeu atrás do véu do pensamento
Onde eu e tu
Sabemos bem que vai e vem o esquecimento
Que leva tudo
E nos mantém vivos, suspendidos no tempo..."

"I know that we are young.
And I know you may love me.
But I just can't be with you like this anymore.

Mora na filosofia.
"Mora na filosofia
Pra que rimar amor e dor
Se seu corpo ficasse marcado
Por lábios ou mãos carinhosas
Eu saberia, ora vai mulher,
A quantos você pertencia"

Famous Blue Raincoat.
"If you ever come by here, for Jane or for me 
Your enemy is sleeping, and his woman is free.

Yes, and thanks, for the trouble you took from her eyes 
I thought it was there for good so I never tried..."

6 minutos.
"...Não precisa falar
Nem saber de mim
E até pra morrer
Você tem que existir
E você me falou de uma casa pequena
Com uma varanda, chamando as crianças pra jantar..."

Oro, le temps des gitans.

Auto-desretrato / Self-unportrait.
"O leite derramado sobre a natureza morta
Me choca, me choca
Me choca, me choca
Quando eu perdi você, ganhei a aposta
Não força, não força, não força
Não força

Quando eu sai da tua vida
Bati a porta..."

Ponta de Areia.
"Ponta de areia ponto final
Da Bahia-Minas estrada natural
Que ligava Minas ao porto ao mar
Caminho de ferro mandaram arrancar..."

Everything Everything.
"A trilobite to anyone?
I’m outta my depth, outta, outta my depth I'm outta my depth, outta, outtaMy depth
My head reels and I’m crawling down the corridor, I can't see, but I’m
Heaving like a holocaust
Hey Kemosabe I'm alone! Ayah! I am a! I am alone!..."

"I heard a puff, I heard a blow
I felt the ground, I felt the snow
I thought of linen and old lace
I never really saw his face..."


In this series of works photographed old childhood friends with whom I no longer maintain contact and also individuals I have just met. The portraits were made during a conversation. 
From this encounter, I separated 10 photos of each one and, for the most part, I did not treat the photos with any particular color in mind, leaving the color and light as they were at that moment the photos were made, without any treatment. In a few cases, I found it necessary to use color.
The basic cuts for these photos are more geometric and appear to be a continuous pattern, but they actually do not repeat, they do complement each other. 

técnica / technique
10 fotografias cortadas e sobrepostas entre chapas de acrílico
10 cut-out photographs and acrylic sheets
41 x 31 cm.













to burn pictures, a way of fisically erase a memory by burning it, so with time, the image that is burnt will disappear from your memory.

The pictures in that series are not mine, I took it from many different sources, and the coloured tag under it is my way of telling that the image is not original, but printed in a paper, it symbolises the "ink on paper"...

fotografia queimada
burned photograph

Unknown photographer.

Nodeth Vang photograph.


Burned photographs


Burned Photographs

Original photography by Luis Alvarez.

Photography by Luis Alvarez.

Photography by Ale Orange.

Unknown photographer.

Photography by Leandro Lopes.

Photography by Luis Alvarez.

Photography by Lina S.

Photography by Lina S.

Photography by Hedi Slimane.

Quem Brinca Com o Fogo
Burned photographs

Lucas simões
Catanduva-SP, 1980. vive e trabalha em São Paulo.
1980, born in Catanduva, lives and works in São Paulo, BR

+55 11 995.425.425

Lucas Simões is an independent artist based in São Paulo, with a background in architecture and design. His experiences of training as an architect redefined his perceptions of art and opened new paths of discovery. In architecture, he says, ’a drawing is more than a drawing: it is the intent that something concrete will materialize through the construction process’. This outlook has influenced his drawing process and his constructive approach to his work with collage and sculpture.

With great inventiveness Simões uses source materials such as maps, books and photographs, which he then folds, cuts and deconstructs into new forms. ‘In my work’, he explains, ’the materiality of the supporting medium is important. The process of making the support a part of the work is achieved through the experiences it is subjected to, such as burning, cutting, distorting or diluting, which, at its most extreme, can destroy the subject.’

In all Simões’s many constructive experiments and heavily layered, distorted works, his intention is to intervene in the original meaning of an object or image and create a new representation that oscillates between beauty and strangeness, movement and depth. ’There is a kind of perversion in it, to take the meaning out of place,’ he says. ‘Strangeness is something that fascinates me, and to make it beautiful is even better.’
( Tristan Manco, in “Raw + matérial = Art”- Ed. Thames and Hudson, 2012, Inglaterra )




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