GEOMETRY OF THE SHADOWS
German Lorca in time of isolation
2014 – 2015
German Lorca gives his photography the quality of participative experience. The Geometria das Sombras series of 2014 exudes melancholy as if facing a solitary journey throughout the house he lives in. It is the emotion of the artist who is consciously reliving the experience of combining his feelings and emotions with the perception of reality revealed in the silence of the shapes and the shadows projected on the floor.
These latest photographs have something sentimental but, at the same time, they are austere because Lorca creates a dark, dense, serious atmosphere that barely recalls the previous images recognized for a different radicalism, as sharp and disconcerting as these, but which raise fewer doubts.
German Lorca is undoubtedly one of the few unanimities in Brazilian photography. His work can be interpreted through the different Crossings throughout his long trajectory in search of images that satisfied his agitated spirit and his curiosity. Works that let us see the visible world through a genesis inspired in front of the magic spectacle of everyday life.
From the first experiment with photography, in the mid-1940s, when still quite young, to the latest series, “Geometria das Sombras” (Geometry of the Shadows), completed in 2014 [during a period of reclusion which lasted over a month for medical reasons], we are able to observe several characteristics and peculiarities that pop up in his syntax and clearly stand out in his elegant compositions. There is no distinction between photography and life, for in every image we are capable of understanding not only his passion for the ordinary, but also his experiences of perceiving in the banality of trivial scenarios some significant force not immediately recognizable.
In the newsletter of the Foto Cine Clube Bandeirante of January 1948, his name appears among the new members – he is member number 499 – and this decision to join the amateur photographers club can be attributed to his intuition that therein he would learn the technique and fulfill his desire to understand the world through images. He toiled exhaustively to embody the precision the new task required, subsequently formulating his view of the world. The simple understanding of language enabled his photography to become ambitious and disconcerting. Ambitious, justified by so many Crossings in order to establish himself through the diversity of the work he accepted and his technical competence; disconcerting, because his perception of the visible is much more complex and elaborate that we imagine.
Rubens Fernandes Junior, photography researcher and curator. From “Crossings - German Lorca”, Ed. FASS/Utópica, 2015.