Luisa Lambri creates intensely personal photographs within buildings, yet her work is not about architecture. Unlike documentary photographers, Lambri's images are a form of self-portraiture, reflecting her presence in the spaces she records. Previously 'inhabiting' the buildings of some of the greatest masters of Modernism including Le Corbusier, Mies van der Rohe and Alvar Aalto, her images are delicately poised between the objective and the subjective. Lambri chooses to record principally the domestic interiors of these places, building an intimate and emotional relationship with the space she is reflecting upon.
Lambri's images isolate a specific detail of architecture and space within the buildings she photographs. Her attention is on the atmosphere of place, and those details that for her become emblematic. By concentrating on one small interior area Lambri renders the building almost obsolete, its function no longer important. The isolation of a detail, such as a window, door, or corner, becomes even more powerful as she further edits the image through digital manipulation to take it beyond what can be captured by the camera. Preferring to work in series, she creates a sequence of images of one detail in a building, each image minutely altered from the previous one.
The changes are subtle shifts in tone and texture, with the occasional movement of line and shadow. These almost invisible alterations emphasise the importance of the passage of time and light in her work. The manipulation and attention to detail in her compositions move the images from the documentary to a fictional realm - they transcend the reality of place, transforming the once impersonal into an intimate, and often psychological, reading of place.
Lambri's photographs are evocative of Modernist painting.
Influenced and inspired by the works of Agnes Martin and Lucio Fontana, she continues the conversation and conventions of the Modernist grid through the use of a principally monochrome palette and her choice of composition. However Lambri floods the grid in her pictures with varying light, giving them a poetic, otherworldly quality that emphasises the organic over the structural. This atmosphere and inherent emotion removes her works from the Modernist starting point.
For this new series of works Lambri has photographed buildings by Alvaro Siza in Portugal and Spain. She sees his architecture as essentially pure, and primarily about the sense of time as a material more prominent than any other.
This observation allows her to further reveal her preoccupations on the temporal through her intricate manipulations. Her images are pared down to explorations of light and shadow, the passage of time as each change signals a movement in time and the series of emotions that she has shared with the space. KMcD
[LESS]Luisa Lambri creates intensely personal photographs within buildings, yet her work is not about architecture. Unlike documentary photographers, Lambri's images are a form of self-portraiture, reflecting her presence in the spaces she records. Previously 'inhabiting' the buildings of some of the greatest masters of Modernism including Le Corbusier, Mies van der Rohe and Alvar Aalto, her images are delicately poised between the objective and the subjective. Lambri chooses to record principally the domestic interiors of these places, building an intimate and emotional relationship with the space she is reflecting upon.
Lambri's images isolate a specific detail of architecture and space within the buildings she photographs. Her attention is on the atmosphere of place, and those details that for her become emblematic. By concentrating on one small interior area Lambri renders the building almost obsolete, its function no longer important. The isolation of a detail, such as a window, door, or corner, becomes even more powerful as she further edits the image through digital manipulation to take it beyond what can be captured by the camera. Preferring to work in series, she creates a sequence of images of one detail in a building, each image minutely altered from the previous one.
The changes are subtle shifts in tone and texture, with the occasional movement of line and shadow. These almost invisible alterations emphasise the importance of the passage of time and light in her work. The manipulation and attention to detail in her compositions move the images from the documentary to a fictional realm - they transcend the reality of place, transforming the once impersonal into an intimate, and often psychological, reading of place.
Lambri's photographs are evocative of Modernist painting.
Influenced and inspired by the works of Agnes Martin and Lucio Fontana, she continues the conversation and conventions of the Modernist grid through the use of a principally monochrome palette and her choice of composition. However Lambri floods the grid in her pictures with varying light, giving them a poetic, otherworldly quality that emphasises the organic over the structural. This atmosphere and inherent emotion removes her works from the Modernist starting point.
For this new series of works Lambri has photographed buildings by Alvaro Siza in Portugal and Spain. She sees his architecture as essentially pure, and primarily about the sense of time as a material more prominent than any other.
This observation allows her to further reveal her preoccupations on the temporal through her intricate manipulations. Her images are pared down to explorations of light and shadow, the passage of time as each change signals a movement in time and the series of emotions that she has shared with the space. KMcD
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