OF THE CAPITAL
As Dragoş-Radu Dumitrescu says, relaying motivations to the viewer usually deters from actual immersion into the photographs. It gives him directions that guide him to a more precise understanding, often leading to diminishment or shortening of the visual experience. Overly descriptive tendencies of the given moment end up bland, conventional, and repetitive, with little poetic expression although usually presented as such. “Of the Capital” shall remain a series to be felt rather than discussed.
Photography is very close to a facsimile of nature—it almost perfectly mimics the environment—so it can often document events and happenings throughout the world. It is a means of communication and relaying information. But is a detail, a piece of reality any more than just a fragment of the whole? The framing in itself, the capturing of just a “window”, is already a fragmentation. It is then clear that photography is an interpretation or transformation of the form that goes beyond its existence and is required to bring forth any deep resonance within us that otherwise holds little energy on the surface.
Initially, “Of the Capital” was merely an arrangement of photographs taken to explore the urbanscapes of Bucharest, the photographer’s birth city. As he says, our psychological perception directs the visual output—it will be either a good picture or a bad one, regardless of any explanation. An image that our mind gives shapes to and to which we are being either attracted to or appalled. It has a specific energy, and we must relate to it to appreciate it.
However, the expression of the profoundness of our very nature can be shared. A nature not to be admired or condemned but observed in its beauty. “Of the Capital” aims to share a personal perception in the hope that it goes beyond our very pragmatic existence.
Dragoş-Radu Dumitrescu is a Romanian photographer born in Bucharest, Romania. Over the years, his focus shifted from dealing with biological sciences towards more inner psychological aspects of our existence. Photography came to me as a means of releasing his expectancies of the world. At first, Dragoş-Radu Dumitrescu explored conceptualism — he quickly realized it was too rigid, too fixed. To him, artistic expression is about a movement of form that gives clarity, structure and goes well beyond itself. It has simplicity and wholeness to it. It is not a means of escaping but a possibility for being free of our conditionings.
Dragoş-Radu Dumitrescu is currently publishing a couple of photography books focused on the inner turmoil of us all.