I am working with a lyrical documentary of environmental portraiture. The project explores the life, thoughts, and emotions of Chicanos by communicating the intersectionality of Chicanos living in Los Angeles and Bay Area, in California. Through photographic representation, Xicanx delves into indigenous identity, their connection to the land, and indigenous cosmovision.
The photographs are descriptive. Through naturalism, leveling, and continuity, each image is designed to show the Chicano cosmovision. I use to shape and form to draw connection and relationships between the subjects and their environment. Through the use color, I hint at allegories that define their indigeneity. In the process, narrating an experience of a particular small group of people in the United States.
The project is photographed using a Fuji X100f, with a 23mm lens and a 5x7 aspect ratio. The physical size of the camera is ideal because it allows for an intimate close-up with the subjects without the distractions that a regular DSLR would cause. Furthermore, these unique engagements are reminiscent of ceremonies, because I am allowed into their sacred fire (space), often giving permission to the ancestors, and through the photoshoot humility, gratitude and traditions is taught.
The environmental portraiture is balanced through color. While the emphasis is placed on the subject, balance through color creates relationships between the subject and environment or surrounding. Also, color, communicates emotion and expression, love, sorrow, and transcendence. In addition, the principles of design are color, naturalism, and simplification. All images are in color to provide a more realistic and documentary approach. Color is used to help provide more information and emphasize depiction and effectively communicate the Chicano spirituality which I have referred to as cosmovision.
The project is intended for discussion on Chicano intersectionality. The intended outcome is to be illustrative about indigeneity, and what it means to be a Chicano in the 21 century.
© Edgar Ibarria