Mateus Morbeck

de Oliveira

Brazil

Salvador, BA, 1980 Mateus Morbeck is an Architect, Urbanist and Photographer. He followed his training in the areas of cultural heritage and people management, which has a great influence on his photographic look. In 2009 he had his first contact with photography, but the interest in seeing the world through the lens remained dormant, with sporadic flashes, when in 2017, he came across aerial photography, awakening the desire to dive into the universe of light and light. look more effectively. Since then, he has been dedicated to the practice and study of photography as an artistic expression. Although recent, its trajectory has been marked by an intense production, in a journey of learning and experimentation of the various possibilities of telling stories through looking. In this context, some elements stand out, especially the search for the unfolding of the image in layers of perception, offering different interpretations to the observer. Influenced by the thought of the Becher couple, especially with regard to photographic typologies, it seeks to highlight the individualities and similarities of images and their constituent elements, little noticeable if analyzed individually, but which side by side acquire strength and correspondence. It is precisely in this scenario of multiple shapes, colors and textures that unusual elements stand out.

 

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Project description

Project Details

Location:World

Country: Brazil

Year: 2020

NEMO NON VIDET

NEMO NON VIDET Humanity, forced to retreat, seeks to survive. The previous pulse of great urban centers, artificial landscapes forged by the human hand, vanishes due to the absence of people. The imminent danger of death and the survival instinct, which lead to social isolation, highlight the indistinction between the human being and any other living species that are part of the same living and complex organism, called Earth. The images, overlapping accumulations from different points of view in the same place, allude to human practices before the virus: a life called normal. This model of normality is called into question both by the addition, as an imagery layer, of the thematic map of the Covid-19 expansion from the first fatal victim of these landscapes, and by the value given to things created by that same humanity. Human behavior, now diverse, values a guarantee of survival in the face of proximity to death and the return of physical social relations, now null and void. There is silent chaos in these empty cities, with no apparent function or life. Deprived of their original charge, images from “live” cameras and satellites (Google Earth and Street View, for example), are appropriate to constitute themselves as layers of a past time, in the present, anxious for a future to exist. This temporal uncertainty is what leads me to look, from inside my home, at the world in which both (me and home) are inserted. Confined, I look for life; not the one before, but the one to come. When only uncertainty exists, images full of other images emerge an accumulation of the previous in the void of the now. Without an ​end​ in himself, “Nemo non videt” (literally ‘no one doesn’t see’), uses the human mechanical Argus to doubt whether, in fact, “Everyone sees”.

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