Camila Cossio’s photographic work specializes in architectural and interior fine art photography. She recently received her MPS in Digital Photography from the School of Visual Arts. Her clientele has included the top architectural firms in, her native, Mexico City, and been published in such magazines as Domus, Glocal, Architectural Digest, and The Robb Report. This work has also been exhibited in galleries in New York and Mexico. In her artistic practice, she involves the architectural context and its relationship to nature.
o b j e c t – s u b j e c t
When an object exerts on us a force that great that we can´t leave it behind, but we take it home, a personal treasure is born. We feel, somehow, that we are meeting with a part of the world, but also with ourselves.
Then, when an object is part of a collection, it transcends its individual nature to shape history, experience, personality, tastes and interests of the collector.
o b j e c t – s u b j e c t is a photographic series of personal natural objects collected by different people. Natural objects such as rocks, sticks, bones, seeds can be seen by most people as insignificant objects. But the photographed objects are valued, sometimes catalogued and have some personal significance for the subject who collected and added it to his personal collection.
Each image contains the following information:
o b j e c t : Protea
s u b j e c t: Mariana Courtney
p l a c e: South Africa
Cossio’s work in collective and comparative form, takes a delicate presence, as she puts, ‘a force’, and lands as a long weight, an object whose mass is far from delicate. Yet the forceful contextualization of installed language – ‘protea’, ‘South Africa’ protects the imagery from any sort of misinterpretation. Cossio tells the viewer what it is she infuses. The strength in this photographic work is the ambiguity of her ‘telling’ – is she leading? Guiding? Rather, is the work leading the viewer astray to offer a challenge which will lead them back to the remark, o b j e c t – s u b j e c t. The work loops, acting as an M.C. Escher nearly.
Go ahead; pin her work down. lay it on a flatbed scanner – you will find it won’t stay. Her work wiggles out of the context in which it places itself. In this, her work finds its power, its force.
Click through to view more of Camila’s work at her website.