Detailed close-ups of far-off scenes
Photo series and mixed media
2014–2016
In Detailed close-ups of far-off scenes I want to investigate and confront constructed realities, myths and beliefs, and the blur between truth and fiction and faith.
I do this by documenting what I consider archetypal situations of forgeries, hoaxes or plain deceptions, as well as cases in which the only thing at stake is perception and belief. The situations jump from particular to particular, as if entries to an encyclopaedia. They range from science, to art, to history, to architecture, or government.
The documentation is done mostly through photographs – that I photographed myself –, as well as some objects, souvenirs, memorabilia, and models. Every situation documented is accompanied by a text that describes the facts being documented.
Photography has always been used as a tool to record “the truth”, which does not prevent it from having been manipulated since ever just depending on the creator’s intentions, the viewer, the context in which an image is presented, and the caption accompanying it.
This series is unfinished and I might return to it someday.
Exhibitions
Questions of Relief
Group exhibition curated by Luís Pinto Nunes e Luis Albuquerque Pinho
Galeria Vertical Silo-Auto, Porto, PT
December 2016
Passado Contínuo – modos de (re)ação
Group exhibition curated by Mariana Marim Gaspar
Espaço Adães Bermudes, Alvito, PT
May – September 2016
Detailed Close-ups of far-off scenes
Solo shows
Kubik Gallery, Porto
February – April 2016
A Ilha, Lisbon
November 2015 – February 2016
Panal 361, Buenos Aires, AR
October 2014
Vitrine Gallery, Weimar, DE
June 2014
PhotoIreland
Group exhibition
South Studios, Dublin
July 2014
Sem Quartel/Without Mercy
Group exhibition curated by Óscar Faria
Sismógrafo, Porto
April – May 2014
Artificial Hymen “Joan of Arc Red”
This artificial hymen can be purchased online at a cost of $29.95 for two units and promises that “you can restore your virginity and have your first night back anytime!”. It measures 3,5x2,5cm and, the package informs, is made of albumen, a gelatine-like material. Women should place it inside of the vagina prior to sexual intercourse as the hymen, when subjected to the moisture of vaginal fluids, dissolves itself and releases a red dye that looks like blood.
Artificial hymens ordered by consumers in Egypt have outraged conservative politicians, who have demanded that the product be banned because it will promote promiscuity in a culture where premarital sex is forbidden and a taboo, to the point it can even lead to a woman’s murder. Clerics have even issued a fatwa urging the sellers to be charged with banditry and punished with death penalty for spreading immorality and sin.
The medical community has established that not all women are born with a hymen, and those who are do not necessarily bleed from intercourse.
House of the Hermit, Painshill Park, England
Ornamental hermits were fashionable in England during most of the 18th century. These were men, generally hired by noblemen for 7-year periods, who lived on their estates, generally in a folly part of the decoration of its gardens. Some of these so-called “hermits” were forbidden to talk or cut their nails or hair, had to grow beards, and were supposed to live in a state of “picturesque dirtiness”. The hermit would be provided with food and water, at times given a skull, a book, and an hour-glass, and in some cases instructed to repeat a sentence in Latin in case a visitor approached. They suddenly fell out of fashion in the early 19th century.
Some historians speculate that the modern-day garden gnome is an incarnation of these hermits.
Postal stamps of Tannu Tuva
These postal stamps were produced in Moscow, in 1936, for the short lived Republic of Tuva, a small territory between Russia and Mongolia that nowadays belongs to the Russian Federation. The idea came from Béla Székula, a well known Hungarian creator of philatelic “rarities” – and involved in several scandals related to stamp forgeries –, who convinced the Tuvan authorities that the production of stamps for sale to foreign collectors would be a good source of foreign currency. About 100 different designs were printed, all oddly shaped and very colourful.
One of these designs shows a startled horse rearing up at the sight of a zeppelin (that never flew over the country) on a special issue for the nonexistent air mail service. The other design depicts a camel racing against a train locomotive, an impossible image because Tuva has never had railways.
It’s speculated that these designs might have been chosen as pieces of propaganda, as they would circulate worldwide via the postal services and promote Tuva as a developed and rich country.
Printer Steganography
Printer steganography is a method of hiding data within prints produced by regular laser colour printers (notably Brother, Canon, Dell, Epson, HP, IBM, Konica Minolta, Kyocera, Lanier, Lexmark, Ricoh, Toshiba and Xerox). This is done through the printing of small tiny yellow dots, imperceptible to the naked eye, without knowledge of the user.
The dots are easily visible under blue light with the aid of a magnifying glass. The patterns they create contain encoded serial numbers and timestamps. This was originally intended to reassure public institutions that their printers wouldn’t be used for forgery.
However, nowadays this is abused and can be used, for example, by intelligence services to track down opponents to dictatorial governments who publish underground by making it easy to identify where their print materials came from and who printed them.
“Supper at Emmaus” by Han Van Meegeren, 1936
Han van Meegeren was a Dutch painter and forger who presented himself as an art dealer who found works by the Great Masters considered lost or undiscovered. His most successful forgery was “Supper at Emmaus”, hailed at the time by some of the world’s foremost art experts as the finest Vermeer they had ever seen. The painting was purchased for about $4 million in today’s prices and donated to the Boijmans Museum, in Rotterdam. The Rijksmuseum, in Amsterdam, even offered the genuine Vermeer “The Love Letter” in exchange for this newly discovered one, but the offer was rejected.
At the end of WWII, a painting from the Netherlands was found in the collection of the Nazi minister Hermann Göring. It was traced back to Han van Meegeren, who had sold it. Selling Dutch cultural property was considered an act of treason and punished with death. He admitted to having sold the work, but also claimed to have made the painting himself, which he successfully did prove. He died while still in prison
This led to the discovery that all the other paintings he sold were painted by him. “Supper at Emmaus” still hangs at the Boijmans Museum, nowadays in a badly lit corridor, away from the main exhibition. According to one curator of the museum, they are still not very proud and comfortable with the whole episode and “want the painting to be seen, but not too much”.
Pyramid of the Sun, Visoko, Bosnia
The Bosnian pyramids are an archaeological claim that a cluster of hills with pyramid shapes are, in fact, the greatest pyramidal complex ever built. According to this theory the Pyramids of the Sun, Moon, Bosnian Dragon, Earth and Love as well as several tunnels and tombs were built more than 12 000 years ago and got covered by soil and trees, therefore giving the impression that they are hills. The scientific community considers that the shape of the hills are natural formations.
In Bosnia, however, officials including a prime minister and two presidents have embraced the claim as a fact, and the “Pyramid of the Sun Foundation” has garnered hundreds of thousands of dollars in public donations to continue the excavations. The access to the archeological site is managed by the Ministry of Tourism and a ticket costs 5KM (approx. €2,5).
The idea of a glorious past in which an advanced civilisation built massive pyramids, at a time when Europe had not yet discovered agriculture, is finding fertile ground in a country trying to build its identity after a genocidal war and having been part of larger empires for the past 600 years.
St Petri Dom Church, Schleswig, Germany
The “Schleswig’s Turkeys” are eight turkeys painted in a monochrome fresco from around the 1300s, at the cloister of the St Petri Dom, part of a larger series of paintings.
By the late 1880s the murals were badly damaged by humidity – still a problem nowadays – and the turkeys were put in by a restorer who decided to fill in an area that had gone empty with a motif of his choice.
By the 1930s the murals were again in big disrepair and the reputed specialist Professor Emil Fey and his assistant Lothar Malskat stepped in: the restoration didn’t go according to plan, and the murals ended up being erased and painted anew, with the figures being given traits deemed more aryan. This did give the murals attention and they were celebrated as masterpieces of German art.
The turkeys were first pointed out in 1938 because their appearance in a mural from the middle ages was surprising: turkeys are New World birds believed to have first been introduced to Europe by the Spaniards in the 1550s. Rather than questioning the work of the restorers, the zeitgeist of the Third Reich covered the mistakes of the restorers and incorporated them into Nazi propaganda as proof that the Vikings had discovered America. There is no mention of any of this when visiting the church.
The image I’m showing is in black and white because it improves contrast, since the original is very faded.
Plaster replica of the “Piltdown Man” skull, Horniman Museum, London
The Piltdown Man was a paleoanthropological hoax, in which bone fragments were presented as the fossilised remains of a previously unknown early human. In reality, it consisted of the lower jawbone of an orangutan deliberately combined with the cranium of a fully developed modern human.
First presented in 1912, only in 1953, when more advanced dating technologies appeared, was it exposed as a forgery, making it the longest running hoax in science.
The Piltdown Man fraud significantly affected research on human evolution. Notably, it led scientists down a blind alley for 40 years in the belief that the Homo Piltdownensis was “the missing link” between modern humans and apes. The reconstruction of human evolution was confused for decades, and to a certain extent this belief is still quite spread in popular culture. The original skull is in the Natural History Museum, in London.
"Alpha Diamond Analyzer"
Synthetic diamonds are man-made diamonds produced through an artificial process. They are not imitation products, as synthetic diamonds are actual pure carbon diamond material just like natural diamonds, and nearly indistinguishable but at a fraction of the price. They are mostly used in industrial applications. Unscrupulous dealers will sometimes try to sell these for the more expensive natural product.
The “Alpha Diamond Analyzer”, at a cost of €21,700+TAX, is the only available tool that can tell them apart. However, small sized diamonds are rarely checked as that wouldn’t be cost efficient.
The industry is still trying to find a way of having both in the market, clearly marked, just like what happens with natural and cultured pearls.
"Wrongosaurus"
The Crystal Palace Park dinosaurs, in London, are a series of fifteen sculptures of different species of dinosaurs and extinct mammals. Unveiled in 1854, they were the first dinosaur sculptures in the world, pre-dating the publication of Charles Darwin’s “Origin of Species” by six years. Although revolutionary at the time, the models themselves are now considered out of date and to varying degrees inaccurate, due to lack of knowledge and information at the time of construction. Most of them were modelled after known animals, such as iguanas and turtles, and inaccuracies range from thumbs wrongly placed as horns, to noses that palaeontologists proved to be tails.
Posing Stand
Posing stands were used in the early days of photography, when exposure times were very long and the subjects were likely to move. They were placed behind the head of the sitter, who would normally be on a chair.
They were also an indispensable tool in post-mortem photography, used to hold in place the head of the dead person so as to create the impression he was still living. Post-mortem photography was very common in the 19th century and many daguerreotype post-mortem portraits were the only photographs ever made of the sitters, as photography only came into existence during their lives and they were unable to afford the commission of a painted portrait. The practice eventually peaked in popularity around the end of the 19th century and died out as “snapshot” photography became more commonplace. Some scholars argue the practice of post-mortem photography never in fact existed.
Study for “Church of Universal Practical Knowledge”
The Israelite Church of God in Jesus Christ (ICGJC), formerly known as the Israeli Church of Universal Practical Knowledge, is a Black Hebrew Israelite Christian group which believes that specific peoples of African and West Indian descent are the lost 12 tribes of Israel and are the true racial and Biblical Jews. They have historically claimed racial superiority to Caucasians, and claim that historical Western figures, although white in appearance, were in fact black. These include King George, the Vikings, Beethoven, Mozart, Shakespeare, Henry VIII and Tom Jones.
Study for “The Farfield Foundation”
Located on 145 East 52nd Street, New York, the Farfield Foundation, a now defunct CIA front, acted as a philanthropic foundation. The CIA used it as a vehicle for their covert funding of groups and persons that were believed to be effective weapons in a culture war against the Soviet Union during the Cold War.
Most notably it promoted Abstract Expressionism, through the funding of touring exhibitions in the US and in Europe, and directly supported artists. This caused a shift in the post WWII art centres from Europe to New York, with Abstract Expressionism coming to embody the “true” American art values of energy, freedom, individuality, and creativity. More importantly, it was a purely formalist art style, with no social agenda, unlike early forms of institutional critique or activist art that were seen as posing a threat to the system.
Study for “Berlin Wall Certification Centre”
A relic of the modern world, a small chunk of the Berlin Wall sells on the street for €4,95, but prices can go up to several thousands for bigger pieces. Most of the pieces on sale are fakes, sometimes produced with materials that are not even concrete.
Dr. Ralf Milke, from Berlin’s Free University, developed a method of X-ray diffraction that can, in a matter of minutes, determine if a piece is genuine or not by analysing the mineral spectra of the samples. He offers his services for €5 and issues a certificate.
Detailed close-ups of far-off scenes, booklet
23cmx17cm, 16 colour pages.
Edited by Pierrot le Fou, Porto.
November 2015
Exhibition views / Photo credits
1–5
A Ilha, Lisbon / Carlos Azeredo Mesquita
6–8
Vitrine Gallery, Weimar / Carlos Azeredo Mesquita
9–11
Kubik Gallery, Porto / Carlos Azeredo Mesquita
Detailed close-ups of far-off scenes
Photo series and mixed media
2014–2016
In Detailed close-ups of far-off scenes I want to investigate and confront constructed realities, myths and beliefs, and the blur between truth and fiction and faith.
I do this by documenting what I consider archetypal situations of forgeries, hoaxes or plain deceptions, as well as cases in which the only thing at stake is perception and belief. The situations jump from particular to particular, as if entries to an encyclopaedia. They range from science, to art, to history, to architecture, or government.
The documentation is done mostly through photographs – that I photographed myself –, as well as some objects, souvenirs, memorabilia, and models. Every situation documented is accompanied by a text that describes the facts being documented.
Photography has always been used as a tool to record “the truth”, which does not prevent it from having been manipulated since ever just depending on the creator’s intentions, the viewer, the context in which an image is presented, and the caption accompanying it.
This series is unfinished and I might return to it someday.
Exhibitions
Questions of Relief
Group exhibition curated by Luís Pinto Nunes e Luis Albuquerque Pinho
Galeria Vertical Silo-Auto, Porto, PT
December 2016
Passado Contínuo – modos de (re)ação
Group exhibition curated by Mariana Marim Gaspar
Espaço Adães Bermudes, Alvito, PT
May – September 2016
Detailed Close-ups of far-off scenes
Solo shows
Kubik Gallery, Porto
February – April 2016
A Ilha, Lisbon
November 2015 – February 2016
Panal 361, Buenos Aires, AR
October 2014
Vitrine Gallery, Weimar, DE
June 2014
PhotoIreland
Group exhibition
South Studios, Dublin
July 2014
Sem Quartel/Without Mercy
Group exhibition curated by Óscar Faria
Sismógrafo, Porto
April – May 2014
Artificial Hymen “Joan of Arc Red”
This artificial hymen can be purchased online at a cost of $29.95 for two units and promises that “you can restore your virginity and have your first night back anytime!”. It measures 3,5x2,5cm and, the package informs, is made of albumen, a gelatine-like material. Women should place it inside of the vagina prior to sexual intercourse as the hymen, when subjected to the moisture of vaginal fluids, dissolves itself and releases a red dye that looks like blood.
Artificial hymens ordered by consumers in Egypt have outraged conservative politicians, who have demanded that the product be banned because it will promote promiscuity in a culture where premarital sex is forbidden and a taboo, to the point it can even lead to a woman’s murder. Clerics have even issued a fatwa urging the sellers to be charged with banditry and punished with death penalty for spreading immorality and sin.
The medical community has established that not all women are born with a hymen, and those who are do not necessarily bleed from intercourse.
House of the Hermit, Painshill Park, England
Ornamental hermits were fashionable in England during most of the 18th century. These were men, generally hired by noblemen for 7-year periods, who lived on their estates, generally in a folly part of the decoration of its gardens. Some of these so-called “hermits” were forbidden to talk or cut their nails or hair, had to grow beards, and were supposed to live in a state of “picturesque dirtiness”. The hermit would be provided with food and water, at times given a skull, a book, and an hour-glass, and in some cases instructed to repeat a sentence in Latin in case a visitor approached. They suddenly fell out of fashion in the early 19th century.
Some historians speculate that the modern-day garden gnome is an incarnation of these hermits.
Postal stamps of Tannu Tuva
These postal stamps were produced in Moscow, in 1936, for the short lived Republic of Tuva, a small territory between Russia and Mongolia that nowadays belongs to the Russian Federation. The idea came from Béla Székula, a well known Hungarian creator of philatelic “rarities” – and involved in several scandals related to stamp forgeries –, who convinced the Tuvan authorities that the production of stamps for sale to foreign collectors would be a good source of foreign currency. About 100 different designs were printed, all oddly shaped and very colourful.
One of these designs shows a startled horse rearing up at the sight of a zeppelin (that never flew over the country) on a special issue for the nonexistent air mail service. The other design depicts a camel racing against a train locomotive, an impossible image because Tuva has never had railways.
It’s speculated that these designs might have been chosen as pieces of propaganda, as they would circulate worldwide via the postal services and promote Tuva as a developed and rich country.
Printer Steganography
Printer steganography is a method of hiding data within prints produced by regular laser colour printers (notably Brother, Canon, Dell, Epson, HP, IBM, Konica Minolta, Kyocera, Lanier, Lexmark, Ricoh, Toshiba and Xerox). This is done through the printing of small tiny yellow dots, imperceptible to the naked eye, without knowledge of the user.
The dots are easily visible under blue light with the aid of a magnifying glass. The patterns they create contain encoded serial numbers and timestamps. This was originally intended to reassure public institutions that their printers wouldn’t be used for forgery.
However, nowadays this is abused and can be used, for example, by intelligence services to track down opponents to dictatorial governments who publish underground by making it easy to identify where their print materials came from and who printed them.
“Supper at Emmaus” by Han Van Meegeren, 1936
Han van Meegeren was a Dutch painter and forger who presented himself as an art dealer who found works by the Great Masters considered lost or undiscovered. His most successful forgery was “Supper at Emmaus”, hailed at the time by some of the world’s foremost art experts as the finest Vermeer they had ever seen. The painting was purchased for about $4 million in today’s prices and donated to the Boijmans Museum, in Rotterdam. The Rijksmuseum, in Amsterdam, even offered the genuine Vermeer “The Love Letter” in exchange for this newly discovered one, but the offer was rejected.
At the end of WWII, a painting from the Netherlands was found in the collection of the Nazi minister Hermann Göring. It was traced back to Han van Meegeren, who had sold it. Selling Dutch cultural property was considered an act of treason and punished with death. He admitted to having sold the work, but also claimed to have made the painting himself, which he successfully did prove. He died while still in prison
This led to the discovery that all the other paintings he sold were painted by him. “Supper at Emmaus” still hangs at the Boijmans Museum, nowadays in a badly lit corridor, away from the main exhibition. According to one curator of the museum, they are still not very proud and comfortable with the whole episode and “want the painting to be seen, but not too much”.
Pyramid of the Sun, Visoko, Bosnia
The Bosnian pyramids are an archaeological claim that a cluster of hills with pyramid shapes are, in fact, the greatest pyramidal complex ever built. According to this theory the Pyramids of the Sun, Moon, Bosnian Dragon, Earth and Love as well as several tunnels and tombs were built more than 12 000 years ago and got covered by soil and trees, therefore giving the impression that they are hills. The scientific community considers that the shape of the hills are natural formations.
In Bosnia, however, officials including a prime minister and two presidents have embraced the claim as a fact, and the “Pyramid of the Sun Foundation” has garnered hundreds of thousands of dollars in public donations to continue the excavations. The access to the archeological site is managed by the Ministry of Tourism and a ticket costs 5KM (approx. €2,5).
The idea of a glorious past in which an advanced civilisation built massive pyramids, at a time when Europe had not yet discovered agriculture, is finding fertile ground in a country trying to build its identity after a genocidal war and having been part of larger empires for the past 600 years.
St Petri Dom Church, Schleswig, Germany
The “Schleswig’s Turkeys” are eight turkeys painted in a monochrome fresco from around the 1300s, at the cloister of the St Petri Dom, part of a larger series of paintings.
By the late 1880s the murals were badly damaged by humidity – still a problem nowadays – and the turkeys were put in by a restorer who decided to fill in an area that had gone empty with a motif of his choice.
By the 1930s the murals were again in big disrepair and the reputed specialist Professor Emil Fey and his assistant Lothar Malskat stepped in: the restoration didn’t go according to plan, and the murals ended up being erased and painted anew, with the figures being given traits deemed more aryan. This did give the murals attention and they were celebrated as masterpieces of German art.
The turkeys were first pointed out in 1938 because their appearance in a mural from the middle ages was surprising: turkeys are New World birds believed to have first been introduced to Europe by the Spaniards in the 1550s. Rather than questioning the work of the restorers, the zeitgeist of the Third Reich covered the mistakes of the restorers and incorporated them into Nazi propaganda as proof that the Vikings had discovered America. There is no mention of any of this when visiting the church.
The image I’m showing is in black and white because it improves contrast, since the original is very faded.
Plaster replica of the “Piltdown Man” skull, Horniman Museum, London
The Piltdown Man was a paleoanthropological hoax, in which bone fragments were presented as the fossilised remains of a previously unknown early human. In reality, it consisted of the lower jawbone of an orangutan deliberately combined with the cranium of a fully developed modern human.
First presented in 1912, only in 1953, when more advanced dating technologies appeared, was it exposed as a forgery, making it the longest running hoax in science.
The Piltdown Man fraud significantly affected research on human evolution. Notably, it led scientists down a blind alley for 40 years in the belief that the Homo Piltdownensis was “the missing link” between modern humans and apes. The reconstruction of human evolution was confused for decades, and to a certain extent this belief is still quite spread in popular culture. The original skull is in the Natural History Museum, in London.
"Alpha Diamond Analyzer"
Synthetic diamonds are man-made diamonds produced through an artificial process. They are not imitation products, as synthetic diamonds are actual pure carbon diamond material just like natural diamonds, and nearly indistinguishable but at a fraction of the price. They are mostly used in industrial applications. Unscrupulous dealers will sometimes try to sell these for the more expensive natural product.
The “Alpha Diamond Analyzer”, at a cost of €21,700+TAX, is the only available tool that can tell them apart. However, small sized diamonds are rarely checked as that wouldn’t be cost efficient.
The industry is still trying to find a way of having both in the market, clearly marked, just like what happens with natural and cultured pearls.
"Wrongosaurus"
The Crystal Palace Park dinosaurs, in London, are a series of fifteen sculptures of different species of dinosaurs and extinct mammals. Unveiled in 1854, they were the first dinosaur sculptures in the world, pre-dating the publication of Charles Darwin’s “Origin of Species” by six years. Although revolutionary at the time, the models themselves are now considered out of date and to varying degrees inaccurate, due to lack of knowledge and information at the time of construction. Most of them were modelled after known animals, such as iguanas and turtles, and inaccuracies range from thumbs wrongly placed as horns, to noses that palaeontologists proved to be tails.
Posing Stand
Posing stands were used in the early days of photography, when exposure times were very long and the subjects were likely to move. They were placed behind the head of the sitter, who would normally be on a chair.
They were also an indispensable tool in post-mortem photography, used to hold in place the head of the dead person so as to create the impression he was still living. Post-mortem photography was very common in the 19th century and many daguerreotype post-mortem portraits were the only photographs ever made of the sitters, as photography only came into existence during their lives and they were unable to afford the commission of a painted portrait. The practice eventually peaked in popularity around the end of the 19th century and died out as “snapshot” photography became more commonplace. Some scholars argue the practice of post-mortem photography never in fact existed.
Study for “Church of Universal Practical Knowledge”
The Israelite Church of God in Jesus Christ (ICGJC), formerly known as the Israeli Church of Universal Practical Knowledge, is a Black Hebrew Israelite Christian group which believes that specific peoples of African and West Indian descent are the lost 12 tribes of Israel and are the true racial and Biblical Jews. They have historically claimed racial superiority to Caucasians, and claim that historical Western figures, although white in appearance, were in fact black. These include King George, the Vikings, Beethoven, Mozart, Shakespeare, Henry VIII and Tom Jones.
Study for “The Farfield Foundation”
Located on 145 East 52nd Street, New York, the Farfield Foundation, a now defunct CIA front, acted as a philanthropic foundation. The CIA used it as a vehicle for their covert funding of groups and persons that were believed to be effective weapons in a culture war against the Soviet Union during the Cold War.
Most notably it promoted Abstract Expressionism, through the funding of touring exhibitions in the US and in Europe, and directly supported artists. This caused a shift in the post WWII art centres from Europe to New York, with Abstract Expressionism coming to embody the “true” American art values of energy, freedom, individuality, and creativity. More importantly, it was a purely formalist art style, with no social agenda, unlike early forms of institutional critique or activist art that were seen as posing a threat to the system.
Study for “Berlin Wall Certification Centre”
A relic of the modern world, a small chunk of the Berlin Wall sells on the street for €4,95, but prices can go up to several thousands for bigger pieces. Most of the pieces on sale are fakes, sometimes produced with materials that are not even concrete.
Dr. Ralf Milke, from Berlin’s Free University, developed a method of X-ray diffraction that can, in a matter of minutes, determine if a piece is genuine or not by analysing the mineral spectra of the samples. He offers his services for €5 and issues a certificate.
Detailed close-ups of far-off scenes, booklet
23cmx17cm, 16 colour pages.
Edited by Pierrot le Fou, Porto.
November 2015
Exhibition views / Photo credits
1–5
A Ilha, Lisbon / Carlos Azeredo Mesquita
6–8
Vitrine Gallery, Weimar / Carlos Azeredo Mesquita
9–11
Kubik Gallery, Porto / Carlos Azeredo Mesquita