Reflecting New York, a photographic series by artist André Vicente Gonçalves, also known as Falke, transcends the conventional notion of reflection photography. It’s not merely about capturing mirrored images of the urban landscape, but about creating a dialogue between reality and its reflection, intertwined with the subtle yet significant presence of the artist himself. Falke meticulously positions a handheld mirror within the frame, capturing not just the scene before him but also the reversed image behind him, generating a surreal juxtaposition that transforms familiar New York City locales into visually arresting, almost abstract compositions. The mirror acts as a prism, fracturing and reassembling the city’s architecture, foliage, and waterways into unexpected harmonies. This interplay of perspectives challenges the viewer’s perception of space and invites them to decipher the layered narrative embedded within each photograph.
The artistic power of Reflecting New York lies in its carefully orchestrated balance between precision and spontaneity. Falke demonstrates a masterful control over the graphical elements of the scene, ensuring that the reflections align with the real-world objects in a way that both complements and contrasts their forms. The buildings, trees, and bridges captured in the mirror are not mere duplicates, but rather echoes that speak to the inherent symmetry and asymmetry of urban design. The slight manual adjustments made by the artist – the tilting of the mirror, the positioning of his hand – introduce an element of deliberate imperfection, a human touch that prevents the images from becoming sterile or purely geometrical. This subtle manipulation of perspective creates a sense of dynamic tension between the reflected and the real, blurring the lines between what is observed and what is constructed.
Falke’s initial reluctance to include his hand in the photographs eventually gave way to the realization that this seemingly incidental element was, in fact, crucial to the series’ narrative. The hand holding the mirror becomes a symbolic representation of the artist’s presence, a reminder that these reflections are not simply objective recordings of reality but are filtered through his individual perspective. The hand is the bridge between the viewer and the reflected world, a tangible link to the human agency behind the creation of these extraordinary images. It’s a quiet yet powerful assertion of the artist’s role as both observer and manipulator of the urban landscape. The hand, therefore, transforms from an unintended intrusion to a crucial storyteller, emphasizing the personal and subjective nature of the artistic process.
The series gains its unique character from the juxtaposition of the familiar and the unexpected. New York City, with its iconic landmarks and bustling streets, serves as a readily recognizable backdrop. Yet, through the introduction of the mirror and its carefully positioned reflections, Falke transforms these familiar scenes into something entirely new. The mirrored images, while grounded in reality, offer a distorted perspective, disrupting the viewer’s preconceived notions of the city’s structure and layout. The reflections become visual puzzles, challenging the viewer to decipher the relationship between the mirrored and the real, to piece together the fragmented cityscape and rediscover the familiar within the unfamiliar. This dynamic interplay between recognition and disorientation is at the heart of Reflecting New York’s artistic impact.
The handheld mirror serves as more than just a reflective surface; it functions as a portal to an alternate reality, a window into a world that exists parallel to our own. It fragments and reassembles the urban landscape, creating dreamlike compositions that blur the boundaries between the physical and the ethereal. The mirror’s ability to both capture and distort reality imbues the photographs with a sense of magic and mystery. The reflected buildings seem to float in mid-air, trees appear to grow upside down, and bridges arch in impossible directions. This surreal quality adds a layer of depth and intrigue to the images, inviting the viewer to step into this altered reality and explore its hidden dimensions. The mirror, in essence, becomes a tool for poetic reimagining of the urban space.
Reflecting New York is not simply a collection of visually stunning photographs; it’s a meditation on the nature of perception, the relationship between the observer and the observed, and the power of art to transform the mundane into the extraordinary. Falke’s use of the handheld mirror, his deliberate incorporation of his own hand within the frame, and his masterful manipulation of perspective elevate the series beyond mere reflection photography. It becomes a profound exploration of the urban landscape, a visual poem that celebrates the beauty and complexity of New York City while simultaneously challenging our understanding of it. The series encourages us to look at the familiar with fresh eyes, to appreciate the hidden symmetries and asymmetries that shape our urban environment, and to recognize the transformative power of reflection, both literal and metaphorical.
