Written by Karolina Rybačiauskaitė

I’ve always been telling myself it is import­ant to keep look­ing at things unfa­mil­iar, undis­covered, per­haps dis­tant, but not enough for you to loose con­nec­tion with it, that uncon­scious cog­nit­ive con­nec­tion. These images are attempts to register move­ment, more usual for the male eye, but cre­ated by a very fem­in­ine and subtle woman – Andreea Chiru. Through them I can feel Andreea’s curi­ous style, the rela­tion­ship with the object which some­times fades, pos­sibly because the object is so nat­ural and so not new that it’s only the rela­tion­ship that might be different.

Andreea Chiru is a young Romanian pho­to­grapher of 23. In most inter­views, she describes the way she dis­covered photography:

The first time I attemp­ted nude pho­to­graphy was when I saw one of my best friends undress. It was in that moment when my friend changed her clothes that I real­ized the beauty of the female body.

Andreea’s nude pho­to­graphs are shadow pho­to­graphs. She is not afraid of shad­ows, nor of light, which some­times blurs the images, melts their edges, lines, or corners. She finds vari­ous, some­times still non-​professional ways of high­light­ing what is import­ant and beautiful.

Andreea Chiru men­tions that a woman’s body, much like the images and pho­to­graphy in gen­eral, can be re-​discovered for many times. The female body inspires one to rein­ter­pret beauty, while pho­to­graphy is a sim­ilar way to keep intern­al­iz­ing the world, the envir­on­ment, the self, anything.

Andreea’s pho­to­graphs fea­ture the wounded body as much as the tempt­ing. I believe this dual­ity per­mits for more mean­ings to be found in her images. Who is the woman, what is her ten­der­ness, her beauty, next to what wounds, what sul­lies, what makes ripples in the water?

I find these wounded pho­to­graphs most inter­est­ing. Looking at them, there is an odd and charm­ing sen­sa­tion that some­thing hor­rendous has happened, but hardly any­thing betrays what it might have been and whether the sen­sa­tion is true. These images hide more within them­selves than pho­to­graphs usu­ally do. It even seems neces­sary for the pho­to­grapher to reveal more of the secret, but then what good would the secret be?

The author is cur­rently more inter­ested in color pho­to­graphy rather than black and white. She is play­ing with feath­ers, flour, water, and wind. Her latest shots /​entire series on related sub­ject as well as the move­ment registered in them are less inter­est­ing to me as the move­ment seems unmo­tiv­ated. On the other hand, the lovely sens­it­ive com­pos­i­tion of most images is still enchant­ing and aes­thet­ic­ally pleasing.

More about Andreea Chiru here.

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