Bruna Stude

“Empty Ocean”
An awareness of the absence of something – a being or an object – affects us more than its presence.

What form does the paradox of the presence of absence take when it is described conceptually? How is it communicated both visually and emotionally in real-life scenarios?

Rendered by manipulating light, the tension between that which is and that which is not disrupts our assumptions about photographic narrative and representation.

Do we respond by simply contemplating the aesthetics or do we re-examine our own preconceptions, allowing a multitude of perspectives?

My technique
Inspired loosely by Chinese calligraphy, my recent work draws on traditions of classical and contemporary Chinese aesthetics: the way “the brush becomes an extension of artist’s body”, my camera becomes my brush, then my life, and my aspiration.’ The ocean is my ink.

By shifting a weight onto process and materials that gives a gesture and a motion new life on paper, my concept of chaos and intangibles is contradicted by the order and new form that has emerged from weightless line and formless blotch. A chaos is now and essential part of the order, thus creating a strong intuitive “presence” .

SquidInkKozo_22.jpg

Title: Squid Ink No. 2 | Suite Empty Ocean
Medium: Platinum/Palladium, lime juice, rain water on 65 gsm Kozo
Size: print 60 x 40 inches, paper 70 x 40 inches
Date: 2017

 

SquidInkKozo_11.jpg

Title: Squid Ink No. 3 | Suite Empty Ocean
Medium: Platinum/Palladium, lime juice, rain water on 65 gsm Kozo
Size: print 60 x 40 inches, paper 70 x 40 inches
Date: 2017

 

SquidInkKozo_33.jpg

Title: Squid Ink No. 4 | Suite Empty Ocean
Medium: Platinum/Palladium, lime juice, rain water on 65 gsm Kozo
Size: print 60 x 40 inches, paper 70 x 40 inches
Date: 2017

 

SquidInkKozo_55.jpg

Title: Squid Ink No. 5 | Suite Empty Ocean
Medium: Platinum/Palladium, lime juice, rain water on 65 gsm Kozo
Size: print 60 x 40 inches, paper 70 x 40 inches
Date: 2017

 

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Interior view of Museum of Czech China Contemporary Museum, 2017