During my residency at ISCP, I will develop a new phase of *She Liberty*, focusing on New York as both subject and image-production system.
The project investigates how the Statue of Liberty circulates through repetition, tourism, and continuous photographic reproduction.
The work is structured around the tension between visibility and saturation: the more an image is produced, the less it is perceived.
New York is not a background — it is a system that produces and exhausts images simultaneously.
My photographic practice operates through a dual system of production combining control and instability.
On one side, I use a Kodak Six-20 Hawkeye Major (c.1930), a historical analog camera that imposes strict limitations in terms of speed, framing, and exposure.
This device produces a limited number of photographs (approximately 80–120 images over the residency), establishing a slow and deliberate rhythm.
In parallel, I use a malfunctioning Nikon D3100 digital camera that generates an unrestricted flow of unstable and unpredictable images.
This second system introduces visual noise, distortion, and accidental composition into the process.
The interaction between these two modes creates a structural tension between scarcity and excess, control and collapse.
Methodology
Analog System — Kodak Six-20 Hawkeye Major (c.1930)
Slow, limited exposure process. Approximately 80–120 images over the residency period.
Digital System — Nikon D3100 (malfunctioning)
Uncontrolled image production generating visual instability, distortion, and repetition.
Field Work
Continuous photographic observation of the Statue of Liberty and New York harbor.
Editing Process
Studio-based sequencing, accumulation, and structuring of visual material into constellations.
Output
A hybrid photographic archive combining controlled and uncontrolled image systems.
