by Anders Scrmn Meisner

You have to look close. And then closer again. Carolina Echeverri’s photographs are tactile, displaying objects that you want to touch – to feel. You have to use your senses. I think one of the best ways to look at the photographs is really to imagine you are close to what you are seeing. Like a fleeing memory, highly emotional and abstract. The horse, the sea, a leaf, a sculpture is transformed and distorted into objects well-known to you but now new and strange.

I’ve seen Carolina take thousands of photographs, walking through the woods to find an exact spot in the forest, the exact tree and then she waits. The waiting is due to the light as the equipment and the process of pin-hole photography depends so highly on light. Once the trigger is pulled the sun and chemistry set of in the little black box. It can take 5 minutes or 45 minutes depending on time, season and the occasional cloud passing by, blocking the sun. All those factors are in the photograph. With the polaroid camera (Carolina’s most modern equipement) Carolina documents sculptures, nature, family and moments. These are later transformed into negatives and then onto larger photo paper in the darkroom. Later tinted with paint – the transformation is nearing a completion if there even is one in her process.

So what do we have here? I have to think of alchemy. Carolina collects fragments of what is plain to see for everyone – mixes, purifies it and transforms it into something organic yet alien to the eye. We are left with an idea, a story and a visual example of time, weather, subject and human emotion. Looking at these photographs you need your sixth sense and your alchemy. Collect and store them like memories.


Carolina has shown in the Spring Exhibition in Charlottenborg Kunsthal, Copenhagen. She has studied under Nicolai Howalt, collaborated with musician Maggie Bjorklund and is currently selected as GUP Magazine’s Fresh Eyes 2019 - the 100 greatest emerging photographers in Europe.