Documentary Photography with Paccarik Orue

Documentary Photography with Paccarik Orue


[ BONGO DRUMS BEATING
RHYTHMICALLY ] Orue: THERE IS SOMETHING
ABOUT THE QUALITY OF THE COLOR THAT THE NEGATIVE
IS ABLE TO RECORD THAT I LIKE VERY MUCH
HOW IT TRANSLATES, ESPECIALLY WITH
THIS GOLDEN BAY AREA LIGHT. IT HIGHLIGHTS
THE ASPECTS OF POSITIVITY THAT I’M INTERESTED IN. HI. I’M PACCARIK ORUE,
AND I AM FROM LIMA, PERU. I’M A PHOTOGRAPHER
BASED IN SAN FRANCISCO, AND WE ARE HERE
AT RAYKO PHOTO CENTER, WHERE I AM PARTICIPATING IN THEIR ARTIST-IN-RESIDENCY
PROGRAM FOR 6 MONTHS. [ MUSIC CONTINUES ] I AM A DOCUMENTARY PHOTOGRAPHER,
AND I WORK INDEPENDENTLY. I AM INTERESTED IN CREATING WORK
THAT I CAN IDENTIFY WITH. BECAUSE OF MY OWN
IMMIGRANT EXPERIENCE, I MAY SEEK COMMUNITIES
THAT MAY BE STRUGGLING AND EXPERIENCING THINGS
THAT I CAN RELATE TO BECAUSE OF MY OWN BACKGROUND. [ CAMERA SHUTTER CLICKS ]
AWESOME. THANK YOU, GUYS. COOL. HAVE FUN. ENJOY THE REST OF YOUR DAY. -Boy: BYE.
-Orue: SCORE A LOT OF GOALS. BETWEEN THE YEARS OF 2009
AND 2011, I DID A PROJECT ENTITLED “THERE IS NOTHING BEAUTIFUL
AROUND HERE” ABOUT THE CITY OF RICHMOND
IN SAN FRANCISCO’S BAY AREA. [ MUSIC CONTINUES ] “THERE IS NOTHING BEAUTIFUL
AROUND HERE” TAKES PLACE SPECIFICALLY IN THE NEIGHBORHOOD
OF THE IRON TRIANGLE, WHICH IS KNOWN ALSO AS
CENTRAL RICHMOND. RICHMOND HAS A REPUTATION
OF BEING ONE OF THE MOST DANGEROUS PLACES
IN THE BAY AREA AND HIGH FORECLOSURE RATES, SO I WANTED TO SEE
WHAT THAT WAS LIKE AND EXPLORE. ONE OF THE THINGS THAT I ENJOY
THE MOST ABOUT PHOTOGRAPHY IS SHOOTING WITH A FILM CAMERA, A MEDIUM FORMAT CAMERA
WITH A SQUARE NEGATIVE. AND THE REASON WHY
I LIKE WORKING THAT WAY IS BECAUSE IT SLOWS ME DOWN. THESE CAMERAS ARE A LITTLE BIT CLUNKY
AND VERY SLOW, SO IT MAKES ME —
IT FORCES ME TO THINK AND REFLECT
UPON WHAT I’M SEEING. Woman:
I DON’T EVEN KNOW WHAT TO SAY. I AM ORIGINALLY
FROM RICHMOND, CALIFORNIA. [ CAMERA SHUTTER CLICKS ] Orue: WHEN I MAKE A PHOTOGRAPH
OF A PERSON, A PORTRAIT, IT IS VERY IMPORTANT FOR ME
TO ASK FOR PERMISSION. I DON’T LIKE FEELING THAT I MAY BE STEALING
A MOMENT IN A PERSON’S LIFE WITHOUT THEM BEING AWARE. DON’T GET ME WRONG,
I DO IT SOMETIMES. BUT I LIKE ASKING
FOR PERMISSION, GET TO KNOW THE PERSON,
AND GETTING CLOSE. [ CAMERA SHUTTER CLICKS ] ALL RIGHT. JUST LOOK
AT THE CAMERA RIGHT HERE. YEAH. UH-HUH. YEAH. JUST SERIOUS.
JUST SERIOUS. JUST LIKE THAT. YEAH. UH-HUH. THERE YOU GO. [ CAMERA SHUTTER CLICKS ] EXCELLENT, GENTLEMEN.
THANK YOU VERY MUCH. IT’S A PLEASURE. I BEGIN MY OWN PROJECTS
IN DIFFERENT WAYS. WITH MY NEW PROJECT IN PERU, I’M LOOKING
AT THE CITY OF CERRO DE PASCO, WHICH IS ONE OF THE HIGHEST
CITIES IN THE WORLD AT 4,400 METERS ABOVE SEA LEVEL. [ PERCUSSION BEATING
RHYTHMICALLY ] CERRO DE PASCO HAS A 1.5-KILOMETER-WIDE
OPEN-PIT MINE. IT IS A COPPER MINE. AND SINCE THE MINE
IS IN THE MIDDLE OF THE CITY, THE OPEN PIT, THIS HOLE
IN THE GROUND, IS EATING THE CITY
LITTLE BY LITTLE. AND WHAT I’M LOOKING AT THERE IS THE JUXTAPOSITION
OF ENVIRONMENTAL CONCERNS DUE TO THE MINING ACTIVITY AND THE FOLKLORIC
AND CULTURAL ELEMENTS AND HOW THOSE TWO COEXIST
IN CERRO DE PASCO. [ MUSIC CONTINUES ] WHEN I GO BACK TO PERU, SINCE I’VE BEEN AWAY
FOR SO LONG, PEOPLE PICK UP RIGHT AWAY THAT I’VE BEEN AWAY
FOR A LONG TIME. SO, IN A WAY,
I FEEL LIKE I’M AN OUTSIDER. BECAUSE YOU ARE FROM
ANOTHER PLACE, THEY ARE WILLING TO SHARE
THEIR CULTURE AND INVITE YOU AND EXPERIENCE THINGS THAT PERHAPS YOU MAY NOT
BE ABLE TO COME ACROSS. AND I LIKE TO THINK
OF THE CAMERA AS THE CONNECTING POINT
THAT TAKES ME THERE TO LIVE THOSE EXPERIENCES
AND CREATE THE IMAGES I DO. [ FUNKY PERCUSSION MUSIC
PLAYING ] [ WHISTLE BLOWS ]

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