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Photo: A Repulsa sobre Guaraci VII © Cecilia Sordi Campos.
“Since I moved to Australia, the concept of house, or the absence of it, has turned into a recurring theme in my resided experiences, ” says 32-year-old Brazilian photographer Cecilia Sordi Campos . “I have always sensed deprived of a sense associated with identity and a place of that belong, both geographically and metaphorically. Then, when my connection separation happened, and I needed to move from the house I actually loved, I felt stripped of home once more. ”
Campos was recently named moving image winner associated with OpenWalls Arles 2021 with her film Samba sobre Lamento. The film is certainly part of Campos’s wider project, Tem Bigato Nessa Goiaba , which muses on the parallels between her migration from Brazil to Australia and her splitting up from her partner associated with ten years. In the project, Campos draws on the often invisible, but deeply-felt, emotional transitions that the girl experienced after the end associated with her marriage. “But I also focused on exploring the layers that form my identification as a hybrid of all my cultural influences, ” the lady notes.
Samba sobre Lamento © Cecilia Sordi Campos. Direction and editing: Cecilia Sordi Campos. Cinematography: Guillym Davenport. Song: U Canto das Três Raças by Clara Nunes.
Shot within black and white entirely in the girl back garden, the film starts with Campos hand washing clothes and hanging them on the line to dry. Later on, she lights a fire, representational of “emphatically throwing the past into the flames”; as it burns up, clips of the artist dance the samba are interspersed. With a little cinematographic help from the friend, Campos wrote the particular script and performed the film by herself. It really is currently being screened at Galerie Huit Arles until twenty six September 2021.
“As the majority of my projects draw from the narrative of the self, I use extensively employed self-portraiture. So I wanted this film to convey an idea of a ‘moving self-portrait’, ” she explains. The lady chose black and white because the symbolism needed “to allude to some period of melancholia and seductiveness, almost as if peering into a recollection of an existence. ”
Campos’ need for reconnection with herself led her towards samba. Now, it’s some thing she’s taking forward along with her, beyond this task. “It was through the motion of my body for this movie that I allowed myself to feel pleasure in the banal once more, ” she states, warmly. “By dancing, I assert my Brazilian heritage and embrace my cross identity, wherever I may end up being. ”