MARCIA BELLOTTI

VISUAL ARTIST
OVER THE CLOUDS
 View from the path to the “Pico das Agulhas Negras”, at the National Park of Itatiaia, Brazil.
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OVER THE CLOUDS
 View from the path to the “Pico das Agulhas Negras”, at the National Park of Itatiaia, Brazil.
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OVER THE CLOUDS
 View from the path to the “Pico das Agulhas Negras”, at the National Park of Itatiaia, Brazil.
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OVER THE CLOUDS

View from the path to the “Pico das Agulhas Negras”, at the National Park of Itatiaia, Brazil.

PORNLAND  |  2005 
PROJECT “CLASSIFIED”Between 2004 and 2007, I published a lot of public advertisements, where I sought to find ordinary and unknown people willing to be photographed exposing important, forgotten or obscured issues of their lives.This photo shoot is called “Pornoland”, and it was built in a vision that blends the surrealism of the original work with questions about the issues of gender and sexuality.
Too see more: www.marciabellotti.com
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PORNLAND  |  2005 
PROJECT “CLASSIFIED”Between 2004 and 2007, I published a lot of public advertisements, where I sought to find ordinary and unknown people willing to be photographed exposing important, forgotten or obscured issues of their lives.This photo shoot is called “Pornoland”, and it was built in a vision that blends the surrealism of the original work with questions about the issues of gender and sexuality.
Too see more: www.marciabellotti.com
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PORNLAND  |  2005 
PROJECT “CLASSIFIED”Between 2004 and 2007, I published a lot of public advertisements, where I sought to find ordinary and unknown people willing to be photographed exposing important, forgotten or obscured issues of their lives.This photo shoot is called “Pornoland”, and it was built in a vision that blends the surrealism of the original work with questions about the issues of gender and sexuality.
Too see more: www.marciabellotti.com
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PORNLAND  |  2005 
PROJECT “CLASSIFIED”Between 2004 and 2007, I published a lot of public advertisements, where I sought to find ordinary and unknown people willing to be photographed exposing important, forgotten or obscured issues of their lives.This photo shoot is called “Pornoland”, and it was built in a vision that blends the surrealism of the original work with questions about the issues of gender and sexuality.
Too see more: www.marciabellotti.com
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PORNLAND  |  2005

PROJECT “CLASSIFIED”
Between 2004 and 2007, I published a lot of public advertisements, where I sought to find ordinary and unknown people willing to be photographed exposing important, forgotten or obscured issues of their lives.
This photo shoot is called Pornoland, and it was built in a vision that blends the surrealism of the original work with questions about the issues of gender and sexuality.

Too see more: www.marciabellotti.com

THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
Zoom
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THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
Zoom
Info
THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
Zoom
Info
THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
Zoom
Info
THIRTY-TWO
Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paperPhotographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com
Zoom
Info

THIRTY-TWO

Untitled  |  40 × 60 cm  |  2008  |  Inkjet on paper


Photographed under a 80mm objective, traditionally used for portraits by minimizing distortion, created a parallel with the ordinary and inexpressive ID photos, where only think captured is an ordinarily and serene look.

The harsh light, with great contrast and very theatrical shows sweats, skins slippery, oily. The choice of black and white suggests the reference of footage photos, study, cataloging, police.

And, as a rip before the trivial portrait, arise bones, flesh, skeleton. The deformity transpires on a detail, only a sample of what we hid from the ours owns depths, what identifies us for last.

See more at www.marciabellotti.com


MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
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MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA
Untitled  |   30 x 40 cm   |   2010
Photographic montages series, built through personal footage.
Original personal footage by Luiza Porto and Márcia Bellotti ©2010.
See more at www.marciabellotti.com
Zoom
Info

MORERÉ  |  BAHIA

Untitled  |   30 x 40 cm   |   2010

Photographic montages series, built through personal footage.

Original personal footage by Luiza Porto and Márcia Bellotti ©2010.

See more at www.marciabellotti.com

DELIRIUM
30 × 40 cm | 2010-2013Photographic montages series, built through personal footage.The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com
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DELIRIUM
30 × 40 cm | 2010-2013Photographic montages series, built through personal footage.The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com
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DELIRIUM
30 × 40 cm | 2010-2013Photographic montages series, built through personal footage.The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com
Zoom
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DELIRIUM
30 × 40 cm | 2010-2013Photographic montages series, built through personal footage.The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com
Zoom
Info
DELIRIUM
30 × 40 cm | 2010-2013Photographic montages series, built through personal footage.The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com
Zoom
Info

DELIRIUM


30 × 40 cm | 2010-2013

Photographic montages series, built through personal footage.


The “Delirium” essential feature consists of a disturbance of consciousness, followed by a change in cognition which can not be better accounted for by a preexisting dementia, or a similar problem in evolution. The disturbance develops in a short period of time, from hours to a few days, and tends to have your intensity changed during the course the day.

See more at www.marciabellotti.com

CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
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CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info
CONSTRUCTIONS OF THE ABSENCE
80 × 120 cmInkjet print on cotton paper36 unique prints2011
In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.
We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.
Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com 
and the full art project “By The Riverside” at www.bytheriverside.com 
Zoom
Info

CONSTRUCTIONS OF THE ABSENCE

80 × 120 cm
Inkjet print on cotton paper
36 unique prints
2011


In October of 2011 we crossed the United States through the US-61 (The Blues Highway), from South to North, along the Mississippi River, which was historically used as a means of transportation for African Americans that left the South towards the Northern crops.


We came across a very different reality from the one promoted by cultural medias of the USA. We found uninhabited cities, destroyed houses and desolated areas, showing a rural exodus provided both by constant natural disasters and the lack of governmental structural support, as well as the fall of the once called “American Dream”. Countless deserted fields, abandoned buildings and empty roads are perhaps signs of the omen of dreaded economic bankruptcy.


Our main focus has been documenting the society through a portrait of their buildings. We chose not to register the exact locations of each photograph because we are not interested in the specific background of each building, but the stories that we can create through lack of references of each image. The only guidelines are the Mississippi River, the US-61 and the pain voiced by the blues.

See more at www.marciabellotti.com

and the full art project “By The Riverside” at www.bytheriverside.com 

PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
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PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
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PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
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PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
Info
PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
Info
PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
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PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
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PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
Zoom
Info
PATHWAYS   |   CAMINHOS30 × 40 cm  |   2013Duratrans photographic printsPhotographic montages series, built through personal footage.
See more at www.marciabellotti.com
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PATHWAYS   |   CAMINHOS
30 × 40 cm  |   2013
Duratrans photographic prints

Photographic montages series, built through personal footage.

See more at www.marciabellotti.com

Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.
See more at www.marciabellotti.com
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Photos of the “Pontal do Atalaia”, a wonderful beach in Arraial do Cabo / Rio de Janeiro / Brazil.

See more at www.marciabellotti.com

BLUE   |   AZUL
Series composed by polyptychs, built through personal archive footage   
CE, Brazil. 2013
See more at www.marciabellotti.com
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BLUE   |   AZUL
Series composed by polyptychs, built through personal archive footage   
CE, Brazil. 2013
See more at www.marciabellotti.com
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BLUE   |   AZUL
Series composed by polyptychs, built through personal archive footage   
CE, Brazil. 2013
See more at www.marciabellotti.com
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BLUE   |   AZUL
Series composed by polyptychs, built through personal archive footage   
CE, Brazil. 2013
See more at www.marciabellotti.com
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BLUE   |   AZUL

Series composed by polyptychs, built through personal archive footage  

CE, Brazil. 2013

See more at www.marciabellotti.com

EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
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EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info
EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info
EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info
EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info
EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info
EMPTY CITY
Untitled
40 x 60 cm   |   2010
Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.
See more at www.marciabellotti.com
Zoom
Info

EMPTY CITY

Untitled

40 x 60 cm   |   2010


Photographic documentation about the cultural phenomenon that empties the streets of the main Brazilian capitals during periods of national team games in the football world cups.

Performed by empty streets and avenues in the city of Rio de Janeiro, during the 2010 FIFA World Cup, specifically in the games ‘Brazil x Chile’ and  ‘Brazil  x Holland’.

See more at www.marciabellotti.com

Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
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Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
Zoom
Info
Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
Zoom
Info
Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
Zoom
Info
Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
Zoom
Info
Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.
Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.

Direção: Luiza Porto
Dir. Fotografia: Márcia Bellotti
Gastronomia: Raquel Portugal
Local: Fazenda São Gotardo, MG / Brasil
Ano: 2013
http://www.marciabellotti.com
Zoom
Info

Still Photography of audiovisual project “Cozinhar”, about vegetarian brazilian recipes.

Fotografia Still para o projeto “Cozinhar”, audiovisual brasileiro de receitas vegetarianas.


Direção: Luiza Porto

Dir. Fotografia: Márcia Bellotti

Gastronomia: Raquel Portugal

Local: Fazenda São Gotardo, MG / Brasil

Ano: 2013

http://www.marciabellotti.com

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