Chance and the found object set the stage for artworks that illustrate the clash between the everyman, popular culture and high art. The investigation of my process, surroundings and interests leads to an infinite amount of possibilities in a process that is beginning to eat itself.

I am an excremental artist. I do not mean an artist who works with feces or is interested in manure but one whose artwork is expelled through the results of process. As a photographer, I am not as interested in indexing a location, a person or a moment as I am dissolving the structure of photography through the manipulation of photographic materials. I typically photograph landscapes that catch my attention for a myriad of reasons. The commonality between these images is anonymity of place. Hints of location are always present but never accentuated, instead their purpose is akin to a forging slug: raw blank material from which my artwork will be created. My photographic slugs are then entered into various processing systems that I have devised over the years. Common processing techniques that I incorporate include hand and machine stitching, chemically altering photographic paper and the integration of open-source electronics. These and other processes are mixed, matched and blended to form the corpus of my work. The body of my work is not complete without my head, heart and hands. My intellectual interests are constantly feeding the physical processes described above. I have an extended engagement with photography’s rich history along with a critical commitment to philosophy. My intuition is permitted to work in concert with my intellect despite stark contrasts between the two. My intellect looks for structures and speaks in logical thought while my intuition arrives in waves of unarticulated emotions and ‘gut feelings’. The heart’s language is often more difficult to translate than intellectual headband but both are equally valuable in my process. Finally, my hands play a vital role in creating my art. They transcribe the conversation between the head and the heart and physically complete the processes defined prior. My artwork is not conceived and the built into a structure, instead it is a result of the passing through a system. I consume copious amounts of stimuli (intellectually, visually, emotionally) and digest it through my creative process and the result is my artwork.

This essay proposes the comprehension of mechanisms that act in the right moment when the picture is taken; the profile is the analysis of photographic images from Japanese immigrants in the development of the photographs in Londrina City – state of Paraná, between 1930 and 1960. It aims to analyze the photographs and verify which of the three conditioning synecdoche factors acted on the Japanese photographers in the photo capture. The factors are: 1st Conditioning Synecdoche Factor – Grammar Literacy (the image elements are unconsciously framed by the initial direction of the individual language literacy, or from the left to the right or from the right to the left). 2nd Conditioning Synecdoche Factor – Kodak Manual (the image elements are unconsciously framed on the center of the frame by paradigm and also by a technical limitation imposition from the time, that conducted centering the main object to preserve a secure register of the event, once there was a risk of burning the images edge). 3rd Conditioning Synecdoche Factor – Technology + Rule of Thirds (the image elements are consciously framed in any part of the frame since it’s possible to fulfill the edges of the frame by technology, added to the options of positioning the objects in the golden ratio spots, revealing a graphic pattern tuned with the aesthetic harmony). / Esta dissertação propõe compreensão dos mecanismos que agem no momento da captura fotográfica; o recorte é a análise das imagens fotográficas dos imigrantes japoneses, no desenvolvimento da fotografia no município de Londrina-PR, entre os anos de 1930 a 1960. Tem o objetivo de analisar as fotografias e detectar qual dos três fatores sinédoque condicionantes agiu sobre os fotógrafos japoneses na captura fotográfica. Os fatores são: 1º Fator Sinédoque Condicionante – Alfabetização Gramatical (os elementos da imagem são enquadrados inconscientemente pela direção inicial da alfabetização do idioma do indivíduo, ou seja da esquerda para direita ou da direita para a esquerda). 2º Fator Sinédoque Condicionante – Manual Kodak (os elementos da imagem são enquadrados inconscientemente no centro do fotograma por paradigma e também por uma imposição da limitação técnica da época, que orientava centralizar o objeto principal para preservar um registro seguro do evento, pois corria-se o risco de queimar as bordas da imagem). 3º Fator Sinédoque Condicionante – Tecnologia + Regra dos Terços (os elementos da imagem são enquadrados conscientemente em qualquer parte do fotograma, sendo possível através da tecnologia preencher as bordas do fotograma, somadas as opções de posicionamento dos objetos nos pontos áureos, revelando um padrão gráfico sintonizado com a harmonia estética).

Cette thèse de doctorat s’articule autour de trois axes. Elle a trait d’abord à la configuration de la sexualité féminine dans l’œuvre des Rougon-Macquart et dans son adaptation cinématographique. La recherche est ainsi centrée sur la représentation du corps féminin et de sa métamorphose dans l’œuvre romanesque zolienne ainsi que dans l’œuvre filmique correspondante. Quant au deuxième axe de recherche, il se rapporte à l’étude des photogrammes, des lexies au niveau de l’incipit et de l’excipit des romans zoliens et à partir de l’ouverture et du dénouement des adaptations qui en ont été faites. Les divergences entre les romans et leur mise en scène interrogent par ailleurs la question de la fidélité du cinéma à la littérature dont il s’inspire, qui reste jusqu’au jour d’aujourd’hui une question assez problématique. Une analyse des seuils filmiques et romanesques a été jugée ainsi fort utiles. Ces seuils s’avèrent un espace où le sens de la créativité et le don artistique du concepteur de l’œuvre filmique ou romanesque voient le jour. Au terme de notre recherche, nous avons constaté que la femme zolienne évolue dans un milieu où interfèrent le réel, l’imaginaire et le symbolique. Et c’est à à travers son rapport avec les lieux et les objets que cette femme accède au rang de figure. La métaphore animalière constitue ainsi l’essence même de la figuralité zolienne qui met en relief ces corps féminins et les dotent d’une présence mythologique. Finalement le naturalisme zolien est-il d’une veine expressionniste / This doctoral thesis is structered around three axes. It deals with the configuration Of the female sexuality in the work of Rougon-Maquart and it its film adaptation. The research is centered on the representation of the female body and its metamorphosis in Zola’s novel works as well as in the corresponding film works. As for the second axis of research, it relates to the study of photograms in the incipit and excipit of Zola’s novels and from the opening and settlements that have been made. The divergences between the novels and their staging also question the question of the film’s fidelity to the literature on which it is based , which remains a rather problematic issue until today. An analysis of filmic and novel thresholds was found to be very useful. These thresholds turn out to be a space where the creativitity and artistic gift of the designer of the filmic or romantic work are born . At the end of our research, we have noticed that Zola’s female evolves in a background where the real , imaginary and symbolic interfere. And it is through her contact with the settings and objects that she reaches the rank of a figure. The animal metaphor thus constitutes the very essence of Zola’s figurality which hilghlights these female bodies and endows them with a mythological presence. Finally is Zolian naturalism an expressionist vein ?