< TextsOpen Space Office
Open Space Office
The series presented here was shot in Portugal over a 3-year period and represents a transformed landscape that portrays the existence of Man as a constructive, reconstructive and contemplative being. The landscape appears completely and irreversibly transformed and it was this transformation that caught my eye and fueled my interest in conducting this project, basing it on this very landscape.
Thus, the work presented aims to portray a reality that suffers an ongoing daily process of rapid transformation. Therefore, the pictures show a temporary reality inserted in a natural landscape undergoing progressive transmutation. They are unique and imposing spaces with a undeniable visual impact which bestow on the images a strong formal and plastic content. I would like to emphasize that these were the aspects I concentrated on and attempted to visually portray the best that this intervention could present to the eye, both in relation to the formal configuration and in relation to the chromatic and lighting harmony that characterize these spaces that create a unique environment. In this way, we can behold a dialogue between Nature and Man’s action, between harmony in a texturized cutting and what develops in it, what involves and transforms it, as is particularly visible in the first images of this series, that portray the idea of an organic whole.
I find it difficult to transmit on film the personal experience and all that one feels and observes at these immense and torn sites, where silence is felt in an unnatural and intimidating way. It is a well know fact that an image cannot replace reality. That is why I chose to include parts of a hidden horizon or an incomplete landscape, in this way suggesting a different perspective, since the proximity to these sites which grow in the opposite direction to what is normal, are usually unobserved by the spectator almost giving them the chance to rebuild them.
Open Space Office
In the photographic series Open Space Office, by Tito Mouraz, the industrial landscapes - presented in abstract and fragmented images - are shown through a plastic acuity, reflected in his work by the use of light, colour, focus and clarity.Open Space Office
In the EinaudiEncyclopaedia, for the entry “Ruína/Restauro”, Carlo Carena (quoting), states that landscape is nature seen through culture. After the immanent Romanticism – truth is an intrinsic part of art - as well as anti-Illuminist, obviously no landscape released itself from this “cultural nature”, in which both poles, nature and culture, configure a thought of their own and a knowledge form. Nature becomes inseparable from the human and, shall we say, archetypal, remote presence, having dissolved and geminated the human trace in the land, under the shape of carcasses of buildings and ruins - which in fact are as alive as shrubs and forests.Open Space Office
Um paraíso que é fatal
Vidal, Carlos, in "Sábado", ed. 471, 05/2013
O autor não produz a desolação: o espaço em volta é que está desvitalizado. Estas pedreiras são perturbadoras: espaços fechados terminam em riachos verdes e azuis – cujas águas são mortais.
A côr destes desfiladeiros de mármore é sanguinolenta, mas por vezes o lado paradisíaco espreita. Um paraíso fatal.Open Space Office