Eduardo Motta

In my travels I've developed a practice with photography that I call drift photography. I choose places with a large flow of people and hold the camera in my hand, below my waist line. Whilst on the move, I press the shutter button as many times as possible without any objective direction. Back in the studio, with the images projected onto a larger screen, I begin a meticulous editing process. In some series, small adjustments are made to the light, with little post-production work, such as cropping and colour changes. In others, I interfere greatly with the initial image. In both cases I pursue one of the classic concepts of photography, which is to capture the instant.
The process begins ‘blindly’ and, in the editing process, the practices converge with other contemporary issues in photography. There are no technical rules, traditional precepts of focus and framing are set aside and it is important that the photographs capture something as a whole, a certain atmosphere that is imposed as the selection progresses. After several experiences of alternating shots of people passing through tourist sites, of crowds involved in everyday work or leisure activities, what emerges from the images is a perception of the aesthetic and socio-...

. Federal College of Fine Arts of Minas Gerais, Brazil.
. Contemporary Art. With the critic and curator Tiago Mesquita
. Artistic Practices and Project Development programme. With curators Fernanda Lopes and Ana Maria Maia.

My work has been shown in several solo and group exhibitions. Among them:
. "Borra" - Galeria Ista. Open Doors Programme of the Bienal do Mercosul. Porto Alegre, Brazil. Solo exhibition. 2022.
. "Suspension - Somerset House. Brave New World. London, England. Installation, 2019.
"Public Image" - Fiat Prize. Urban art project, 1998.
. Utopias Contemporâneas - Palácio das Artes, Belo Horizonte, Brazil. Group exhibition, 1992.
Velha Mania / 20 Years of Brazilian Drawing - Escola de Artes Visuais do Parque Lage, Rio de Janeiro. Group exhibition, 1985.