From the book “A certain panorama”

The work presented here is part of what we would consider as documentary work of a fictional character. Although all of her images have a certain in the truth (given that they are captures of normal photographs, i.e. documentary, indexed and indicial ) they have then been manipulated in order to create more narrative graphics universes, ones filled with curious and anecdotal spatial relations and interactions that arise between the subjects they comprise and between these and the landscapes. The idea is to make a more elaborate and richer recreation of the author's memories.
It's obvious that the work is not subject to journalistic ethics and to the pertinent obligatory adherence to reality. This legitimises the author to recreate her memories in a more conformist and constructed manner, especially enhancing the visual values that help her to construct a more mythical personal imaginary ideal of the place being remembered; images for the author that are a compendium or sentimental compilation of these spaces and their inhabitants. With this fictional documentary photography, one reaches, in a digital manner, what could be defined as a decisive supra instant- those that Cartier Bresson defended in 1950s ( although the famous French expert would never have approved of violating the real or of documentary falsification). The way in which Corada works, the images she produce, are like shots with an immense formal value ( with unusual associations of lines, spaces, volumes and characters, all interacting among themselves); these enclose the best moment and synthesis of a story, the best summary of it (or at least one with a wealth of visual information). These are pure qualities that form a part of Cartier Bresson's own discourse (so subject to composition and its rules; in fact he came to make Victor Hugo's maxim of “Form is essence brought to the surface” his own) but in the cases of Corada these qualities have been taken to a more extreme point.
What is interesting therefor, Is that the fictional transgression undertaken by this author always moves in terms that could be considered as truthful situation, she is not interested in taking photographs with an obviously fantastical, illusory or unreal situation. Her scenes are mostly urban and move in a line of apparent truthfulness.
The memories that Corada wishes to retain of these places seek to be visually richer, definitely, but are based on her own real experience, the spaces and characters are totally true, what is not certain are the new interactions between all of them, as created by the author in each image.

Personal Statement
I work with single exposure and also Digital photomontage in some of my Photographs. I like to blur the boundaries between storytelling and real facts trough digital manipulation. Always using images that occurred in real situations, without the use of directed or staged photography. My work requires exploration, observation and patience in order to get the images I need. My photographs are created from real scenes normally photographed on the streets, that have been later manipulated and set on the border between the documentary and narrative fiction.  The work explores the interaction and alienation within different groups of people in the city but also the beauty of the unexpected facts. The images were taken in different countries and cities, always exploring similar concepts, depicting the way people perform and interact with each other in different environments, cultures and communities.  Some of this pictures reflect the lack of communication we experience in public spaces while suggest stories behind each individual. The characters simply reflect what we can see of their ordinary lives, they have things in common with the people around them and share the same space doing similar activities, although we see them somehow isolated and unaware of each other, their surroundings and the actual photographer. The intention is not to look for extraordinary places but to photograph the mundane and perhaps emphasize moments, gestures, looks, and movements that express feelings we don't normally want people to see, pass unnoticed or are easily forgotten. The photographs have been created and composed from multiple images intentionally selected by and meticulously combined together in order to create unsettling and powerful images that never existed, but evoke the memories and perception I had while and after photographing those scenarios. 

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