A Surrealistic Meaning To Street Photography by Andre Louzas

Street photography is generally understood as “straight photography”, which apparently shows a pure vision of something such as, a single human movement caught precisely at a particular moment. Nevertheless, street photography doesn’t seem to be always chained by its subject matter as most of its works concentrate on other aspects rather strongly.

It is virtually true that though a photograph might speak about one particular moment (Read: the moment when the photograph was taken) but it also speaks about the preceded moment and the moment later. Hence, a photograph per se includes all the three time frames i.e., the past, the present and the future. In this light, one may contest the idea of street photography, which is best comprehended as objective image that is extracted from a straight expression from reality.

Andre Louzas, from Sao Paulo is professionally a journalist. He has a tremendous passion in photography especially in street photography. He has finished a graduation course in Visual arts area from University of Campinas. In his research about the relationship between ‘photography and urban space’, Andre emphasizes the photographic production of European avant-gardes of the twentieth century, which majorly includes the surrealistic images as well as some of the best known images created by Andre Breton, the leader of Surrealist Movement.

Naturally enough, his photography speaks the same surrealistic language. For example, in the case of Carandiru Prison photo, André doesn’t present the ‘penitentiary’ but its ruins and the tracks of its past. There is nothing that one can talk about the present of the Carandiru Prison from this photo except for its ruins. Interestingly and quite contradictorily, a lot can perhaps be gathered about its past.

The representation of the ‘present’ Carandiru Prison as seen in the photo is almost zilch but its past is not only the history but also its life. Although, one cannot think of a possible human existence within the Carandiru Prison, the lives of various prisoners within the same building can be imagined. The image of the photo looks very surreal.

Similarly, in Horto Florestal photo, Andre captures the deserted look of an unknown street where a chair is left unoccupied and a dog turning its back on the chair while it walks nowhere. The image is simple and yet its representation is rather melancholic. Both the objects in the photo seem to be helpless but very independent. A lifeless object like a chair is shown here as if, it has a life in it.

Similarly, the dog is shown much contrary to the nature of its existence. Andre’s works are rather unconventional and yet very simple and have deep meanings, which are beautifully expressed through his photography. In his own terms, Andre’s work in street photography has redefined the concept of street photography for himself.

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