Presentation of the book and exhibition by Fernanda Grigolim appears in simposium Herbert Helder, his whole life to found a poem.
The work of Fernanda Grigolim does not obey the parameters of other interviews that I done, I just extract a part of the talk of the artist about her work in gallery door 33 and show the various ways to discover, feel and enjoy his work.
"My relationship with photography has always been an act of survival. I started shooting right after my grandfather died. I was nineteen and I had won a Pentax MX and decided to understand what it was all about. I remember that the first place I photographed with the camera was Bariri, the birthplace of my grandfather Luiz Grigolin.
The photos were never revealed, I lost the film at home or in the laboratory of the Lasar Segal Museum, the place where I took my first photography course. Then in college, I went through social issues and spent years and years of my life using photography for and with my activism.
"Garoupa Portraits" is a book released in 2010 that took three years to complete. It is a fiction that was born from the need to create contact with the past, to make present the life story of my father, João José Moraes, dead at age 31, when I was only seven months old.
João José Moraes, known to his friends and family as Moraizinho, was a native of Rio Negrinho, born on January 16th, 1949. He spent his early childhood at a place in Congonhas, Camboriú, Santa Catarina. At ten, he moved to Porto Belo with his family.
"Portraits of the Grouper" is a fiction, my father left nothing written. I built a male narrator who had a first encounter with writing. It was also my first encounter as a daughter with my father and with my fictional writing.
My father was a low-middle-class man, who lived in Brazil in the late 1970s in the midst of a military dictatorship. He is a character and narrator, and is presented in the images and in the text. The story unfolds between the years of 1978 and 1980. The book is 64 pages, 20 x 20 (closed). The narrator comments on his life in the city of São Paulo, in Curitiba. However, his digressions and flashbacks always refer to Porto Belo, in Santa Catarina. The name alludes to the first name of the city, the cove of the Grouper. And the Grouper of the book is much more an imaginary city to which the narrator always resorts when writing his memoirs. "Portraits of the Grouper" is not a book of literature, although there is text, the book is part of the photographic ".