Edition Details
This is a C-print on Fuji Crystal semi-matte. Edition sizes are as follows;
11" x 14" - 300 editions at $90.00 each.
16" x 20" - 50 editions at $250.00 each.
20" x 30" - 20 editions at $750.00 each.
All images come with a numbered certificate of authenticiy signed by the artist. Please note that sizes quoted are for the size of the paper, not the image. We do not alter the aspect ratio or edit the artist's original image. All images have a minimum .5 inch white border. Please note that because of the aspect ratio of this particular image, there will be a large white border at the top and bottom of the print.
Artist Statement
São Paulo is a notoriously tough nut to crack. As sophisticated as any major capital on earth, it is nevertheless largely avoided by travelers to Brazil in favour of the well-beaten paths through the beaches of Copacabana and Ipanema in Rio de Janeiro. What little that is written on São Paulo focuses mainly on the staggeringly obvious: public landmarks, luxurious hotels and five star restaurants, which will set you back more in a single day than most people in São Paulo make in an entire month. Up there, on the observation deck at the top of the Art Deco Banespa building, looking out over a sea of high rise apartments and offices, you begin to think about the São Paulo of the other 20 million.
Nico Oved is a documentary photographer interested in constructed spaces and how they reflect the realities of the people who inhabit them. This interest has brought him and his large format camera to far-flung locations ranging from the austere banlieues of Paris to the dynamic hillside favelas of Rio de Janeiro. Though people rarely appear in his photographs, is it in fact the narrative of marginalized communities that ultimately drive his work – for him, their everyday reality is far more compelling than our own. After studying Sociology and Fine Arts in Montréal, Toronto and San Francisco, he taught himself Portuguese and escaped to São Paulo, Brazil where he worked in photography and journalism for pennies, but was nevertheless inexplicably content. Nico strongly believes that photography is first and foremost a communications medium and that its value as a impartial document is still very much relevant and alive. He's not particularly fond of the word photojournalism; he prefers documentary.
