 |
 |
|
|
Andrés Felipe Orjuela Castañeda. A-5175 (cuatro paracaidistas colgados), de la serie World Wide Exclusive; Paracaidistas 22 de Nov 1941; Port Benning, Georgia, Alabama; Estados Unidos
Ciudad de México, 2014
Fotografía impresa sobre papel de algodón e iluminada con óleos Marshall's
Andrés Felipe Orjuela Castañeda. A-5180 (paracaidista cayendo sobre construcción), de la serie World Wide Exclusive; Paracaidistas 22 de Nov 1941; Port Benning, Georgia, Alabama; Estados Unidos
Ciudad de México, 2014
Fotografía impresa sobre papel de algodón e iluminada con óleos Marshall's
Andrés Felipe Orjuela Castañeda. A-5181 (vista inferior del paracaídas), de la serie World Wide Exclusive; Paracaidistas 22 de Nov 1941; Port Benning, Georgia, Alabama; Estados Unidos
Ciudad de México, 2014
Fotografía impresa sobre papel de algodón e iluminada con óleos Marshall's
The fundamental interest behind my hand-coloring of photographs is to show archival images that have been forgotten or discarded. This is the origin of the images I work with. I determine the photographs' visual and historical value and begin a digitization process, using a high-resolution scanner and then making a print on archival fiber-based photo paper.
The images in this particular series represent US air-force personnel at Fort Benning in Georgia. The photographs form part of the collection of the Wide World Photo agency; they are dated November 21, 1941 and numbered in the following manner:
1. A-5175 (four paratroopers hanging)
2. A-5180 (paratrooper falling onto building)
3. A-5181 (parachute from below)
In the digitization process, there is no image manipulation. The only transformation that takes place with the digital negative is the making of an outsized print. Each image is accompanied by a copy of the back of the original photograph, with all the information provided by the agency. This allows viewers to establish a direct link to the history of each photograph and also to gauge its original size.
Once the print has been made, I start working on it manually with Marshall’s photo oils, used over the early twentieth century for tinting black and white photographs. The paint is applied delicately with cotton swabs. The colors are my subjective choice.
The documentary research for each photograph forms part of the work’s process of creation and establishes conceptual associations between the photographs’ history and the circumstances in which they were taken.
→ Read more
→ Bio
Bogotá, Colombia, 1985. Has an MFA from the Universidad Nacional de Colombia and an MFA with a specialization in printmaking graphics from the Universidad Nacional Autónoma de México. His work has been featured in various group shows and art fairs in Colombia, the United States, Mexico, Panama, Cuba, Brazil, Peru, Argentina, France, Spain and England. He has received an honorable mention from the jury on Arte Shock TV-UNAM (2011), and grants from the Fundación Carolina (2008) and the Apoyo a las Artes EMGESA/CODENSA. His work has been published in the catalogues of MACO 2014, ArtBO 2013, Crack! Bolsa Mexicana de Valores, and Memorias, Museo Casa del Lago Chapultepec, among others. He currently is a PhD candidate in the art and design program of the UNAM.