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2023 Annual Conference

Denver

March 16-18, 2023

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Past SPE Annual Conferences

Paula Damasceno

Paula
Damasceno

SPE Member since 2016
Member Chapter: Southeast

Paula Damasceno

SPE member since 2016
Èṣù
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Ògún
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Òsóòsi
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Omolu
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Ọ̀ṣun
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Ọya
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

Paula Damasceno

SPE member since 2016
Ṣàngó
4x5 tintype, heated press print pad, Iroko wood cases on an appx. 10,5 x 6,5 inches black velvet cradle.

about

I use photography to create photography-based interdisciplinary agentic objects. That is objects that have agency because they are created and used by a human for a specific means within certain social, political and cultural contexts. Intersecting disciplines, formats, and techniques, I intersect cultures. I consider photography, with all its complexity, an agentic object, and a platform to express and discuss cultural interactions through form and shape. In addition to photography, I use material culture to elevate photography, question photography, to open meanings that the photographic medium can't express on its own.

I make research-based artwork and take research as a broad spectrum of activities.

My research can start with History, stories, one or many memories, an impression, a moment of movement and dance that reveals a question or an answer, a film, a book, or a lecture. In doing so, I am mostly interested in what makes us transition back and forth between individuality and plurality, celebrated in the poem by Muhammed Ali, Me We (Ali, 1975).

More specifically, I am guided by a set of inquiries that I hope can lead to a visual articulation of We: What are the implications of collapsing stories and cultures within an object? What role do photographs have in forging such collapse? What alternative, historic, and/or legacy photographic processes are for?

Asking these questions doesn't provide a path to answer them. As an artist, I use these questions to facilitate the creation of art in its more potent form and shape. Art as potential, as becoming, as an enunciation of an unfinished, indefinable, and inescapable We.

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