Colored catalogue from the exhibition held at the Centre Culturel Cloître des Billettes, Paris, France, 2013. Curator and scenography Ricardo Fernandes, critic Marc Soléranski.
“From the nineteenth century to the present day, the birth of Impressionism owes much to the invention of the daguerreotype. In 1874, at the photographer Nadar’s atelier, Claude Monet and his friends organized their first exhibition. Far from considering photography as a threat to the future of painting, they discovered the foundations of a new artistic direction. From an Impressionist perspective – there is no objective representation of reality because all reality depends on the interpretation by the artist and the observer extends that interpretation.
When photography is limited to objects placed in front of the camera to be reported, it is a technique. When the darkroom changes to alchemical crucible where images of reality merge into the inner world of the photographer, it becomes an art. This is exactly the dimension where Lucia Adverse projects the most humble objects of her environment. Her eyes know how to capture a shadow, a monochrome strip or a metal rod, to write a poem, to compose a musical suite, to draw a landscape … If I allow myself to define the relation the artist establishes with her camera, I would say she transforms her camera objective into the subjective.” (extract from the critic by Marc Soléranski)