GALERIA VERTICE is pleased to announce its participation in ARTESANTANDER 2011, contemporary art fair.
In reaching its twentieth edition, ARTESANTANDER becomes a Festival of Projects, a fair concept less dense, more manageable and visible and at the same time, tighter and that coincides with the current requirements.
We invite you to visit our STAND 34, in which we will show LUIS VELOSO‘s last project, Brighton sells what?.
Exhibition will take place in Santander Congress and exhibition hall, 20-24 July.
Luis Veloso · Brighton sells what?
Broken Silences, by Luis Veloso (Nacho Alted text)
Luis Veloso’s photos seem to have been taken out from a Cormac MacCarthy’s novel, from a story about urban bleak uplands where the barren, ghostly settings enclose oceans of sorrow and melancholy.
Luis Veloso belongs to that generation of photographers that seek beauty in objects which are mundane and prosaic. His personal way of understanding and seeing the world travels in a hazy border where realism and idealism are mixed. Those two viewpoints, apparently conflicting and even contradictory, turn out to be compatible in Veloso’s camera. It is only at this junction where light can be found in gloom, reflection in the dull and perfection in what it is supposed to be useful.
Veloso’s last collection, “Brighton Sells What?”, supports the same crepuscular essence that previous series “Iluminosis” and “Without fuel”. Again, Luis Veloso portrays the magic moment of solitude, causing the audience a certain sensation of uneasiness, like that of a broken dream, even of a hangover; as when someone wakes up among the leftovers of a Dionysian party held in a house sacrificed by the previous nights imbibings.
Brighton Sells What? is the result of countless strolls along this seaside city in the south of England. Instead of signing touristic postcards, the images portray a bleak prospect made of commercial premises and small companies which have already closed, and not exactly on holiday.
There is a snapshot that clearly sums up the new collection. As in any other nightfall, the light interior of an evicted small premise contrast with the pale colours of the setting. The shop window looks like a blinding empty goldfish bowl. Light becomes the main character here, breaking the silences of the image through a deaf rage.
Maybe this is were Veloso’s secret lies. It lies in communicating in a subtle way, in hinting at rather than showing; forcing the reader to read between lines, to focus the lens properly in order to grasp small details that frequently harbour the keys to his discourse.
After all, his photos are no more than extensions of his personality: that from a patient and meticulous observer who can see some eternity at odd corners, that from an artist who focuses his attention where ordinary people usually don’t.