The image cuts out the corner of a wooden public bench, leaving in shadow its barely perceptible outlines and, in a slightly more open light, the ground, the stone left there and the shadows projected onto them. Seen from above, in a high-angle shot, the place acquires, above all, the visual value of the elementary forms that define it and a photographic ‘reality’ that is easily self-referential.

Without occupants, this bench and this stone could be an immediate invitation or a vague memory. But more than anything, the bench is a series of straight lines that challenge the organic shapes of the stone and the shadow on the ground. Both are suspended in the non-place of their indefiniteness and abstract tendency.

Leonor Nazaré
Curator at the CAM