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rui ferreira

+49 (0) 175 235 64 12

+351 967 198 461


studio rui ferreira

c/o esser

christinenstraße 7

10119 berlin



I have studied photography in Berlin and New York and fine art in the Netherlands. My final project dealt with affects towards space in the specific case of a narrative taking
place in the Icelandic landscape. I find a common ground between photography and architecture as being a study of light and form, which takes into account social and interpersonal dynamics.


All images on this web site are the exclusive property
of the photographer and are protected under German and international copyright law. The images may not be reproduced, copied, transmitted or manipulated without the prior written permission of Rui Ferreira.


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AGBs – Deutsch

architectural photography as narrative

There is something fascinating about being in constructed spaces devoid of people. Spaces, which were architected by people but where they are only to be witnessed. Where, at once, unravelled reminiscences do matter because their surfaces determine the shades in the images. At this moment, a study of space begins to take place and geometries become apparent. Despite their current inhabited state, these spaces‘ temporary void amply leads me to think about their stories.


The absence of others propels me toward something not seen, opening up narratives which are yet be told. Narratives bound to surfaces, exuded from spatial arrays and confined by the exercise of framing. These are spaces that embed all hidden stories, scenarios where obsolete narratives are plausible. But what narratives are these? Who are the missing ones? What took these spaces to be built in this specific way? What do the surroundings say about them? And, what then remains unseen: what do my images tell of, if not of that which they do not tell?


These are images of voided spaces. They result from seeing and not from knowing, they do not count or report. They merely show what I see as I am the one standing in these voided spaces. Spaces that are real but which bring about the imaginable. Spaces that are the shape of what is not there, and therefore question the documental quality of the image. What do these images document, if the absent ones to which they refer, remain unportrayed? They certainly document space as a thinking process, given shape as architecture.


The likeness between image and space is the result of a observational process in which an expanded surfaces, architecture itself, become a contained tangible surface: the image. At this point, the sensorial has just become visual, space intrinsic to image and, ultimately, representation becomes itself narrative.