Luthiers in Habana Vieja: what is there at the end of the stairs?
Through the lens of Maité Fernández and this photo essay we know the luthiers workshop in Habana Vieja. hobby; tenía una camarita semiprofesional con la que iba registrando las puestas en escena de algunos directores.
I get to photography empirically, which makes me research all the time. I'm interested in the photography of performing arts, I've been documenting the world of the stage for years, whether it's dance, theater or music. I love feeling free in a concert, moving around, looking for different angles, but one of the things I enjoy most is the emotion and interaction that occurs between musicians or with the audience. It is a second and it is unrepeatable. That is why I think that of all the artistic manifestations, music is the most integral, and is a mediator between the spiritual world and the world of the senses. I can't conceive the beginning of a day without hearing some music: when I wake up, while I walk. I declare myself an irremediable melomaniac.
The luthiers workshop in Habana Vieja is the beginning of a project that I have in my hands and to which I want to dedicate my most beautiful energies and every effort possible. I was delighted the first time I was in that place since the very moment I climbed that spiral staircase waxed and somewhat enigmatic. Then, for the restoration work carried out by a multidisciplinary team. I remember scanning everything, looking at the tools, the ropes, the handles and the virgin wood that was just beginning to take shape.
I think that the main motivation has been music, as a topic to be treated in this photo essay that I have just begun. The process of photographing it has taken unexpected paths, as I had a clear idea of using natural light and fragments or details of the instrument, but once in situ , I have realized that there are many paths and I have focused on two perspectives: one with a more personal approach, and the another based on the restoration process. in situ, me he dado cuenta de que hay tela por dónde cortar y me he concentrado en dos perspectivas: una con un enfoque más personal, y la otra basada en el proceso de restauración.