Photo: Angélica Dass
What is the strength of the project collage, believes Angélica Dass, it is the lack of information on the subjects. “We don’t know who is poor and who is rich. We don’t know who is the migrant, who is disabled, what is the sexual orientation of everyone.”
Angélica Dass has never used neither the black nor the white in the infinite range of hues of the Institute Pantone she uses to describe the skin of the people photographed on the occasion of his grand project Humanae. It is that no human skin is not really of these colors, of course. All the children will remember still.
And this is what she has wanted to demonstrate in this installation that has made him browse 19 countries and 29 cities all over the world, and that made her shoot up to now 4000 people to the colour of the skin varied. Each of these portraits is presented on a background screen color that matches the color of the skin of the subject. And this color is determined from a square of eleven pixels by eleven, usually caught on the nose of the model.
This week, Angélica Dass making a stop at the Musée des beaux-arts de Montréal, where she photographed the visitors to volunteers to enlarge its immense tapestry of human. Jade Maheu had heard through friends of this project, when she presented herself at the studio of the Museum to be photographed by Angélica Dass. “We are small pieces of a puzzle,” she said. Ida Dudenhoeffer, who was also photographed by Dass, has been attracted to the humanistic side of the project. In Montreal, the approximately 115 photographs that Dass has taken will be exhibited at the opening of the new wing “of the cultures of the world and of living-together Stephan Cretier and Stéphany Maillery” at the MMFA, in November next.
I’ve never understood the single pencil said of flesh-colour, which we used in my drawing classes. My skin was brown, but it was said that I was black.
— Angélica Dass
For Angélica Dass, the photograph is only the beginning of the conversation with the subject. And she wants this conversation to continue in the street, on the Internet, in the media, and in the people photographed.
A native of Brazil, currently live in Madrid, it is itself born of a father of african descent, who had been adopted by a couple of Europeans. “I’ve never understood the single pencil said of flesh-colour, which we used in my drawing classes. My skin was brown, but it was said that I was black, ” says the photographer, who has given several lectures on his work.
Photo: Marie-France Coallier The Duty
Angélica Dass in full work at the Musée des beaux-arts de Montréal.
Once settled in Madrid, Angélica Dass has formed a couple with a man to the skin very clear, ” rose “, which rougissait quickly in the sun.
“I was asked constantly what color would our children,” she says. During a trip in his Brazil home, she gets a photographic project with all the members of his family. “I have african origins, european origins, and origins are indigenous. “This little family project launches Humanae, Angélica Dass has been pursuing since 2012.
In an interview, she recalled that Brazil was the last country to abolish slavery, in 1888, but that the impact of this slavery has repercussions up to today. In conference, she said she remembered with anger for having been taken for the good, because of his dark skin, as she cooked with friends, or for a prostitute because she was walking on the beach with friends in europe. “It continues today with the stereotypes,” she said. “The color of our skin not only gives a first impression, but a persistent feeling that remains “, she adds.
However, it is evident that none of the 4000 portraits that form Humanae is not black or white. So why, therefore, continue to convey these expressions that reflect ancient concepts of race ? request-t-it. “We would accept that a professor comes into class and says that the earth is flat ? […] It is important to say that it is a lie, a social construct. “
“What I have achieved in pursuing this project, is that I do not speak of me, and that I don’t speak that color. It is something about the way one sees oneself, and how one sees the other. Diversity is an invaluable resource for the human species. Basically, it has two things in common, we are human beings and we are unique, ” she said in an interview. Angélica Dass has photographed babies and people on the verge of dying, children and the elderly, refugees, p.-d. g. enterprise and politicians, the healthy and the disabled. And this is the essence of each small part of a vast human mosaic, which emerges in this huge mural of photos.
Photo: Marie-France Coallier The Duty
Angélica Dass is preparing the portrait of Ida Dudenhoeffer.
“What is the strength of the project, I believe, it is also that we don’t have any other information on the subjects. We don’t know who is poor and who is rich. We don’t know who is the migrant, who is disabled, what is the sexual orientation of each. However, these are the things that happen to separate us, ” she said.
In the Czech Republic, she has facilitated workshops for young people where all the skin colours were different, despite the cultural homogeneity apparent in the group. And Angélica Dass has also been shown that people sharing the same shade of skin colour could come from a media sociological and ethnic extremely varied.
“What I want is to cause a reflection,” she said.
Alice Comtois, who was made to take a photo Thursday by Angélica Dass, was also seduced by ” the idea of participating in a large project that makes us lose our individuality “.
The project of’Humanae attempt to capture the colors beyond the first impression. Something like the color of the soul.