Del Sentimento de no estar del todo
Tamara Wassaf presents us this photo essay with a title taken from “La vuelta al día en 80 worlds” by Julio Cortázar. From a quick reading of the work, we realise how the Argentine argues about musical advances, artistic vanguards, or even life forms, being the United States very influential at the time. After the posthumous publication of his work compilation, a radically different analysis was made: what was really being created was a Latin-American identity discourse. For sure it is the same purpose which the author shows in this work: using some aesthetic artifices she explores shapes and beings trying to outsource and embody out of it, looking for a personal and universal speech. In this process of materialising the body she looks for identity possibilities within the female context by exploring the notion of ‘expanded portrait’ to inquire beyond the body, stripping it and turning it into folds in the space.
Tamara works from the contemporary concept of ‘ intimate Landscape ‘, a symbolic landscape that erases the boundaries between reality and representation. That’s why she chooses specific spaces to serve as intimate witnesses of the relationship body-surroundings. The locations where she shoots help her creating this landscape and to build a current and nostalgic narrative set in many possible times, moving simultaneously between memory and ambition. Like her compatriot writer, the author is “one of those children who since the beginning carry with them an adult, so that when the girl truly reaches the adult age happens to also carry a child with her […] this is expressed in the feeling of not to being entirely in any of the structures of the webs that form life, and in which we are both a spider and a fly. “* Image after image we realise the multiplicity game of ways to inhabit an empty space as the author threshes the opposed ideas of body-absence through objects, to shoot the identity that seeks, in a leap, to be rooted and to be defined, since the condition of the emigrant of Tamara is a constraint in her work and becomes palpable in the inhabiting of the spaces, possibly intending to root and to exist. Once and for all.