Twenty years ago, as a student at the University of Seville, Cecil Ka worked on the similarities and differences between the Camargue Regional Nature Park and the Doñana National Park, located south of Seville. Two protected natural spaces where mental representations have forged strong identities, and of which the regional costume is one of the expressions.

From 2017 to 2019, she photographed those whom the contemporary Sevillian costume transforms into another version of themselves on festival days.

In order to show the transformations brought about by the embodiment of the identity reflected in the costume, the photographer also poses the person au naturel, simply dressed in a grey T-shirt.

Cecil Ka places herself just before the party, when the bodies are available and determined, their eyes in ours.

The images come in pairs, they speak to us in pairs, but they are in fact threefold. An interstitial image is formed in the lack, in the viewer's head.

As a photographer of the visible and the invisible - of the in-between - Cecil Ka abandons the question of the instant in favour of the relationship between us, the viewers, and them, the images.

Repositioning the issues of portraiture in the field of contemporary art. Cecil Ka weaves the link between them and us, between the tradition of the genre and its posterity. Impossible images, and yet within us. Images have always been there, bodies, faces, looks have always revolved around them.

Is it because of the uncertainty of our being in the world that photographers work to give faces to the visible ?

Is it to calm the turmoil of existence that Cecil Ka places women (and some men) in front of her ?

Women dressed in their luminous simplicity or in their most sumptuous celebratory clothes.

She builds a superb and universal matriarchy from Brooklyn to the streets of Seville, from Sundays in Arles to the barrios of Mexico City; where death and celebration mingle as a matter of course.


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