Welcome to this edition of [book spotlight]. Today, we uncover the layers of '10 Years,' by Sandra Cattaneo Adorno. We'd love to read your comments below about these insights and ideas behind the artist's work.

On April 20, 2024, the curtains rise at Palazzo Bembo for Sandra Cattaneo Adorno’s remarkable exhibition '10 Years,' presented during the 7th edition of Personal Structures and running parallel to the 60th Venice Biennale. With a unique perspective shaped by years of global exploration, Adorno weaves the threads of memory, displacement, and belonging into a dreamlike tapestry. Her latest work, a convergence of experiences from the Global South to the Global North, serves as a vivid exploration of the transient nature of identity and the universal quest for connection.

In this conversation with Sandra Cattaneo Adorno, we explore the depths of her latest exhibition, "10 Years," a compelling narrative captured through the lens of her world travels. Adorno discusses the genesis of her photography journey, "I first started photographing when my daughter invited me to a workshop... something clicked." Her words weave a tale not just of personal growth but of an artistic revelation that led her to capture life's fleeting moments.

Adorno delves into the heart of her exhibition, expressing how themes of "dislocation and belonging" deeply resonate with her own life story, shaped by a tapestry of cultures and continents. "The show opens with a projection... transforming into one another," she describes, painting a vivid picture of the interconnectedness that defines our human experience.

The conversation takes a turn into the creative process behind "10 Years," revealing the thoughtful considerations behind every choice: "The use of gold sets the images apart... it reminds me of the golden paint used during Carnival in Brazil," Adorno explains, providing insight into how her cultural roots and artistic influences intertwine to create something magical and otherworldly.

Photographic Journey: You began your photography career at the age of 60. What inspired this significant shift in your life, and how has photography influenced your understanding of the world?

I first started photographing when my daughter, Gwen, invited me to join her in a workshop run by Alex and Rebecca Webb as a present for my 60th birthday. I did not know what to expect from the experience, but I accepted because I thought it could be a good excuse to spend some time with her.  As I first started shooting, however, something clicked and I felt a buzz running through me.

Before I started photographing, the street was for me a place that I used to go from A to B without being too conscious of what was happening around me. Through photography, I started to become alert to scenes and gestures that I had never noticed before, and to the beauty of light, shapes and colours. Being able to frame these elements in an image is a kind of magic that still fascinates and surprises me.

Exhibition Themes: Your upcoming exhibition at Personal Structures focuses on themes of dislocation and belonging. How do these themes resonate with your personal experiences and artistic vision?

Themes of dislocation and belonging resonate deeply with me, as my personal life and career have spanned many continents and countries.  I could even say that my very identity was fashioned by my international background.  I was therefore pleased to be able to investigate these experiences while celebrating ten years of my photography in an exhibition at Personal Structures.

The show opens with a projection in which black and gold photographs - images of strangers that I have taken on the streets of different countries - transform into one another.  The flux of images of the projection hints at the fluidity of the identity of who is considered ‘foreign’ or ‘other’ and at their difficulty to be fitted into canonical contexts, as foreigners are always recontextualising their experiences by moving into a different culture.  At the same time the photographs, by merging into each other, acknowledge the interconnectedness of people and call for renewed interactions to be established.

The investigation of the themes of displacement and connectedness continues inside the main room of the exhibition, which features thirteen photographs printed in metallic golden ink on black paper and mounted inside black wooden frames.  Because of their composition and aesthetics, the photographs look abstract, although a human element is always recognisable.  They call for the visitors to get closer and interpret them. Most of the images have been inverted in postproduction, so as to accentuate the feeling of displacement they evoke. 

My new book, Ten Years, is displayed on a table in the middle of the same room, open as an accordion.  The book juxtaposes images that I have taken in different countries, although it is deprived of linearity and geographical context. While suggesting the experience of travel and dislocation, it also favours contact between people: the visitors will in fact be able to activate new connections and narratives between the images by moving along the piece.

Displacement and an attempt to forge new connections are also evoked by the curtains covering the windows at the end of the room, as a photograph of Ipanema Beach in Rio de Janeiro printed on them overlays the iconic buildings of the Venetian Gran Canal to create a new view of the city.  

Creative Process: In creating your new monograph and exhibition, how did you decide on the accordion format and the use of metallic ink and black paper? How do these elements complement the narratives you wish to convey?

The use of gold sets the images aesthetically apart from ‘real’ life, thus conveying the experience of being ‘foreign.’ At the same time, the golden ink has a very personal significance, as it reminds me of the golden paint used by dancers to cover their body during Carnival in Brazil. So painted, the dancers look otherworldly and magical.  Through the golden ink, I wanted my pictures to convey a similar effect of wonder, enchantment and beauty. The black paper contributes to abstracting the figures, as it leaves them deprived of an identifiable background.

A similar effect is conveyed in my new book, Ten Years, as its images are printed with the same ink and paper as the photographs on the wall.  In the exhibition, the book will rest on a table and it will be open as an accordion, so as to display simultaneously all the photographs it contains and, as I mentioned earlier, to allow the public to move freely around it.  The idea of this format came from David Chickey, my publisher at Radius Books, as we were looking for a way to make the book more interactive and playful.

Influences and Inspirations: Your work is noted for its dreamlike quality and connection to artists like Gustav Klimt. Can you discuss your artistic influences and how they shape your approach to photography?

Art has always played an important role in my life and I think that my vision is stimulated and inspired more by painters than exclusively by photographers.  My range of influences extends from the old masters to contemporary artists.

A big inspiration for Ten Years, however, derives from modernist photography.  In the 20s and 30s photographers were experimenting with the medium in innovative ways, which weren’t yet bound by conventions or strict expectations.  I find their approach very refreshing and still revolutionary today.  By inverting some of the images of the project to make them look like photographic negatives, I reconnected with some of their experiments.  At the same time, through this effect, I tried to offer another perspective on reality, as hidden details come to light and the viewers are invited to question what they are seeing. 

Global Perspectives: Your photographs span various countries and cultures. How do you prepare for capturing the essence of these diverse places, and what do you hope to communicate through these images?

When I photograph I look for a feeling that clicks with me and takes me somewhere else.  The reality of a place or a situation is for me the starting point through which I aim to reach another dimension in my images, one that is related to dreams and mystery.  For this reason I often photograph through glass, take pictures of reflections or try not to show a scene or a person in a straightforward way.  I didn’t know I could be able to interpret the world around me while communicating in such a personal way before I picked up a camera. It fascinates me that there is so much of me, of my life and experiences in my photos and yet I think I achieve my best shots when I am the most open to the outside world.

I therefore don’t think there is a particular way in which I prepare for my shoots, apart from deciding to play.  Play is in fact a fundamental element of my approach to photography: it is at the heart of the feelings of wonder and surprise that motivate me to go out with my camera and take pictures.  Being playful also allows me to experiment with my camera without being too concerned about the final result. Taking pictures then becomes a very liberating and creative process. Luckily, if you are having fun when photographing, it invariably shows in the images.

Narrative and Fragmentation: "10 Years" is described as a scroll of fragmented and layered narratives. Can you explain how this structure reflects your perception of time, memory, and travel?

As in my two previous books, Águas de Ouro and Scarti di Tempo, the images in Ten Years work as a flux, each photograph acquiring more significance by juxtaposition with the previous and following one.  In this book, however, the stream of images increases even more in intensity, as suggested by the design of the book and its accordion-like shape, which allow for the photographs to flow uninterruptedly into each other.  As a result, more attention is given both to the visual aspect of the book - the little text included is in a separate booklet - and to the act of looking.  Considering that the images in Ten Years are from more than twenty countries, the book works as a travelogue, or a sort of map, although without linearity or geographical references.  I intended the photographs to become snippets of memories of travels and, thanks to the format of the book, they acquire the fleetingness and elusiveness of memories, which blur boundaries and appear - or shine through - when least expected.   

Late Bloomer Success: Starting a new artistic career later in life presents unique challenges and opportunities. What advice would you give to others who are considering pursuing their passions later in life?

I feel very lucky and privileged to have discovered such a passion in life as photography.  Sometimes I wish I could have discovered it earlier, but I think it came at a time when I could best appreciate it and, most importantly, when I was able to fully enjoy it.  So my advice would be to work hard, but with a light heart, because at this age it has to be fun!

Future Endeavors: Having achieved significant recognition in a relatively short period, what are your aspirations for the future of your photographic work? Are there new themes or projects you are eager to explore?

I would like to work on new projects that can stretch my imagination and creativity.  They might involve new materials or new ways of displaying my photographs, as well as exploring moving images more.  I am excited about new prospects and am open to learn more through photography.

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.

Sandra Cattaneo Adorno (Website, Instagram), born in 1953 in Rio de Janeiro, ventured into photography at the age of 60. Inspired by the spirit of innovation akin to Dora Maar, she has quickly risen in the art world, recognized for her distinctive methods of image presentation and printing. Cattaneo Adorno is known for her works like "The Other Half of the Sky," "Águas de Ouro," and "Scarti di Tempo," which have earned her several accolades including the 2003 American Photography Award and the 2021 Lens Culture Street Photography Juror’s Pick. Her talent was spotlighted at the 59th Venice Biennale and through international exhibitions from Kuala Lumpur to New York. Her captivating images have graced the pages of top publications and have been celebrated in significant photography circles worldwide.

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