Welcome to Glock's portfolio
Doll hospital Series
Glock - 2006
Digital photography with FineArt printing. Circulation: 8 copies
50,00 cm height x 70,00cm width x 0,10 cm depth
USD 655,00
What you see is what you pay: freight is included in the price of the works stated above
You will receive this work rolled up in a strong tube, properly protected.
7-day guarantee for return of your money
Delivery period: 20 to 25 days to any country outside Brazil
The work of art is sent directly from the artist’s studio in Brazil to your home
Product code: 14275
THE ARTIST
Glock
As a small boy he was enchanted with his uncles’ photograph slide-shows of trips to Europe. Perhaps he alone stayed to watch them, while other children played outside.
Now a documentary maker and photographer, Carlos Alberto Glock says he doesn’t draw his inspiration only from photography, but from all the arts. Music; cinema; a good book. “It’s in the air, around us, in the galleries, in the street and in the most simple, vulgar daily life; all you need is to pay attention and be present,” he says. His view chimes with Spanish writer and dramatist Federico Garcia Lorca, who believes that “poetry is something that walks the streets”.
His photographic work is wherever he is, and however the situation presents itself. Journalism, social, institutional, sport, travel, he seeks to cover them all with the same interests. His technique is pure photography, the most original possible, without manipulation. Color has always seduced him, in spite of his admiration for black-and-white. His visual work divides into two parts: photography; and image in movement. But, always together. When he went into TV journalism, he became accustomed to reportage, and this contributed significantly to the viewpoint that he seeks to achieve in his work today.
Glock was born in 1954 in Curitiba, Paraná, and from 1986 to 1990 worked as a cameraman for the SBT TV network, and as producer and director of photography of institutional documentaries for the government of the state of Paraná. In 1990 he went to live in Portugal, where he began his professional career in photography.
Starting work in reportage for magazines, he transferred this language to video documentaries for Portuguese TV. He made several documentaries on unusual groups, minorities, people who in some way live at the margin of established society, although within it.
In 1995 he published a book on Lisbon’s electric trams, and worked increasingly on this type of project. His photographic book ‘Tejo’ (the river Tagus that bisects Lisbon), was published by Caminho Editorial of the Leya group. He produced programs for the Portuguese networks RTP, RTPN, and TVI, wrote and directed documentaries for RTP2, made some video clips, ads, and ‘making of’ features, and worked freelance for reportage, travel and interior decoration magazines.
Glock's travels in the former Portuguese colony of Africa, and contact with their new reality, sharpened his desire for travel and documentary photojournalism. In Angola he made institutional videos and organized photographic publications for the Marquês de Valle Flor Institute, a Portuguese NGO.
His Doll’s Hospital photo series in Portugal was simultaneously made as a video documentary: starting from a 167-year-old doll’s hospital – in a four-story house of the Marquis of Pombal period in the Praça do Navegador, in the center of Lisbon, perhaps one of the most traditional doll’s hospitals in Europe – it looks at the involvement of adults with toys that populate the child’s imagination. The owners receive requests from people to mend dolls that have been dismembered, soiled or disfigured by time or by being forgotten. After being treated in the hospital, they recover their brilliance, some original physical features, and perhaps even another, softer identity to compensate for abandonment.
In 2012 Glock returned to Curitiba after 22 years living in Lisbon. There he made two new documentaries and took part in the Tupy or Not Tupy exhibit in Curitiba’s Oscar Niemeyer Museum.
With his 30 years as a professional photographer in Brazilian and foreign magazines, he has exhibited in shows in Brazil, Argentina, Portugal and England. Outstanding among these were the exhibitions in Cordoba and Ushuaia, Argentina; the exhibition in Galeria 12A, Lisbon; and his exhibition at the Bloomsbury Theatre, in London – all of them solo shows. He has taken part in various documentary festivals, earning various prizes and honorable mentions. These include Chafarizes de Luanda, in 2009, at the Festival Internacional MedCine 09 in Cascais, Portugal; and Padre Motard, in 2010, winner of the Public Favorite award for best short documentary at Cinesul, Rio de Janeiro.
When young he was very shy, and would blush a lot. This led to a teenage habit of using dark glasses – even if overcast, at night, in the governor’s office when working in TV journalism, wherever he was: dark glasses on his eyes. Style, some said. But he says above all they were his shield, his protection against shyness – which he eventually got over, after many years.
In his particular vision and experience, art will always have a fundamental importance for the human being, because in his view, it is the reflection of life as we imagine it or would like it to be. He also believes art is the mirror of despair, of internal conflicts that cross generations and are inherent to us all.
He sums up: “Art liberates, addresses, accuses, tell stories, and records moments that will be eternal. It makes us go to places we will never be, but which are within us, as a memory and a yearning for a time that we have not yet lived. That is poetry; that is art.”
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