Author: Marcu Michel

Some share with the Botanical garden of Buenos Aires, one finds on a tree trunk a drawing which is repeated by three times: it is an eye, an eye which the folds of the bark draw, the size of this eye is that of a human head.
And these three eyes, identical between them is also identical to an Egyptian image of a major symbolism, it is the eye of Horus.

When I discovered the images on the tree, my initial reaction was to record them with my camera.
But I did not do it.
This kind of photography does not mean large any more thing for me.

The vision of these eyes, like that of an exceptional landscape or a face of great beauty, can be only one document, these images speak about them same, their message arrives to a place of the conscience which makes it possible to express by words what one sees.

My course in the search of images passes by another way.
Some share with the Botanical garden of Buenos Aires there is a pond, in the medium a sculpture of a human figure, on water float of the sheets and the lotuses. The place is banal, the light falls into full on the mirror with water and the tourists are made photografier on the bank.

I often pass close to this pond, always with my apparatus with the hand, but one day, one moment, there is a balance between water, its surface and its depth, between the light which plunges, the sheetsand the reflection of the sky and the clouds, all these plans are linked by including me, they reveal me something that I cannot put in words.   

It is the moment to take the photograph.

The black and white is ideal for that, it is, with respect to the color, which the theatre is with respect to television: withthe theatre the spectator must make an effort and to engage, it must imagine and to rebuild a reality which is particular for him, single, the spectacle is offered to him so that it supplements it, with television, there is the color, all information is under the eyes. All is known as.

Thus, for a long time already, I seek in photography a bond between different worlds, and in this research, I find myself always deeply committed, since the subjectivity of alleviating images which disturb me.


Michel Marcu was born in 1949 in Buenos Aires. He begins photography with the YMCA and in 1967 starts in the documentary kind with 30.000kms in stop through the Latin America.
In 1976, it has the diplême of ingeeior in Electronics.
In 2000, it exposes to the School of Arts of the Success of the University of El Salvador. In 2001, with the Alliance françaiseof Buenos Aires: "Piezas of a rompecabezas" and in the Arts centre Recoleta: "Pica Pica, will escultura contemporánea, fotos of escultor".
In 2002, it exposes "Cadencias" to the Arts centre Recoleta and in 2003 again "Cadencias" to the University of the CEMA. In 2003, also, it exposes photographs on the topic of the anguish in Argentinian Psychoanalytical Association.