Matilde Campodónico

Country: Uruguay

Title:  Excerpt from the series Groundwater

Medium: Photography

Size: 0.80 x 1 m

The World's Women On-Line!

Campodónico creates personal photographs with various subject matters for books and exhibitions. At the same time she works as a free lance photographer for magazines and newspapers. She is among the best photographers in Uruguay.

She states, 'It is difficult to write about what one does. I remember the saying - I don't know who said it first - that a photographer's basic function is to take photographs. Thus, I feel like I'm doing something wrong when I write. Perhaps the presence of a text can help the viewer to understand the circumstances in the case of work of a documentary nature. In the case of this fragment of the work that was shown collectively under the title, Napa freática (Groundwater), the function of words is not clear to me. On that occasion I wrote the following text that describes what I feel every time I use a camera: "I have the impression that every time we start to work at something a new world appears. Human beings are the clearest evidence that all material can be something else. When we stare at something a place other than what we had imagined appears. This seems to be the norm whenever one explores. Reality is thus something that is molded by our eyes, just like any material is molded. Materials change and can become immensely liquid, hard, dark, or simply cease to be what they are and become something else." This working method is pretty elementary. There is a previous idea (something that interests me because of its theme or aspect) and then trials, some more successful than others. I particularly like the interaction with the subjects of my photographs. It's a matter of discovery. At times they're nervous and so am I. Then a sort of trust arises and we begin looking at one another without fear. Whether or not those photos will together form a work is something I can't be sure about a priori. When the photos finally meet and form a finished set, they cease to interest me. They no longer pose any challenge and, if it were up to me, I would forget them. I'm aware, however, that the subsequent process of showing what one does makes it possible to start all over again. I don't have a specific interest in the hardware, the camera. I don't do anything that is technically special or that ties me to a certain process. Instead I like to choose freely. This issue is linked to having a special appreciation for inconsequence. In general, recognition is given to the discovery of a particular technical-creative vein and to taking it to its final consequences. I prefer the challenge of jumping from one route to another. It can be color or black and white, negatives or slides, and it can at times be called photojournalism, conceptual art, portrait or landscape, or at other times focus on objects or subjects.'

Campodónico has published photos in the book: Una forma de ver, co-production of IBM and el Foto Club Uruguay, 2000; Her exhibitions include: En vivo, Café El Ciudadano, 2001; Es muy bella mi bandera, mi bandera, press photos from elections campaign, Museo Histórico Cabildo, Montevideo, 2000; Napa Freática, Fundación Buquebus, 1999; participated in the Montegrafías project, showing at bus stops, Municipality of Montevideo, 1998; Noventas mil. Fotografía, Museo Histórico Cabildo de Montevideo, 1997.
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