Burning Diaries

35mm photographs

Prenez garde de vous

We stand in an industrial landscape. The asphalt spreads out, dirty, inhospitable, rough, anodyne. The remains of imprecise objects are scattered on the ground, creating a nighttime urban constellation where someone floats like an astronaut lost in the industrial immensity. Other debris expand monstrously and desperately in the verticality of a wall. Others are gathered, carried, lifted in a vertiginous and fragile acrobatics. Others follow one another in temporal space, in an erratic aesthetic of a difficult and uncertain video recording. Others are extracted and sublimated in paintings made of smoke and water. Others are contained in impossible books as if they were secrets. In all cases, these remnants are signs, numbers, lines of division and direction that guide us on an uncanny emotional map. Lamonier draws a complex interweaving of codes, signs, traces, scars, gestures that define a language and delimit this territory, but also trace routes. We are in fact faced with a cartographic self-portrait. In this landscape, what would seem hostile to us represents for him the universe of his personal story, the place of memory of his happiness and his unhappiness, his freedom and his condemnation, of what is his own and what is alien to him, of what is precious and what is terrifying. We see ourselves in the one who is abandoned, lost, who looks us in the eye with a luminosity typical of the condemned and gives us clues so that we can find and follow him: light, fire, smoke, map. As if we were in Hades, Randolpho embodies the role of Charon, or Tarkovsky's Stalker, in a playful version that combines grace and irony, delicacy and rawness like two ends of the same line.

Rosa Maria Unda Souk

Memorial of shreds
Variable Dimensions
Orlando Lemos Gallery, Nova Lima/Brazil, 2014
Photograph: Victor Galvão