In 1895 the Lumière brothers invented cinema as an evolution of photography. Since then, many things have changed, but I realize that cinema in its turn has endowed photography with a cinematographic gaze.
Brito’s work offers a panoramic visuality, that I am defining as cinematographic precisely because of its ability to create static visual narratives, that are continued through our gaze. These photographs offer a wealth of colors and shapes with elegance and delicacy.
In the traditional photographic frame, the genres that photography incorporated from painting, such as portraits, landscapes, and still life, are in the line of the horizon. Meanwhile, Brito presents a new frame for his photographs, the aerial. With this new medium for his image, Brito draws visual narratives with boats, fishermen, and objects. His photographs gain complex textures, varying intensities of color, tones and contrasts, in addition to strategically planned and harmonic compositions.
Photography invested heavily for many decades in an effort to create an image that was as close as possible to reality, to the point of frightening its viewers, as was the case of the first Lumiere brothers’ films. But today it is necessary, as Brito does, to reassign photography to a domain outside reality, a field of suspension of the real, of fictional creation and visual plunge.
