Early self-portrait. Abelardo Morell, 1970.
The self-portrait of a young man: he seems to be conscious of his own strength. No self-assessment, but an expression of his quest for another point of view regarding reality.
In outlines, the interior of a room: improvised, a student digs. The black cat could be the foreboding of this young man’s later interest in surrealism.
Although he is looking straight into the camera lens, he couldn’t protect his inner-self more against the curious glances of a contemplator. Completely open and still secretive, a face upside down is no more legible for us: a hint pointing to the mechanisms of non-verbal communication.
The picture above: the early self-portrait of a man who now belongs to the limited number of successful art photographers and who still depicts the world upside down with the means of the Camera Obscura.
Camera Obscura, 17th century.
Light Bulb. Abelardo Morell, 1991.
The reproduction seems more real than it’s model: opal and the right way round. Photographs have to go along our visual conventions to be held authentic.
The Empire State Building in Bedroom. Abelardo Morell, 1994.
Miami Beach in Empty Room. Abelardo Morell, 2001.
The world gone topsy-turvy: it’s no more the way it should be. Because these images are obviously “wrong”, they primarily are addressing our intellect and ask us to analyze what we see. Still I feel a sense of unease that might be caused by this game with reality and a subsequent loss of orientation.
The early self-portrait by Abelardo Morell: an indistinct but not accidental allusion to his later works.
Abelardo Morell: homepage.