Renato Stockler
Journalist by training and photographer by passion, Renato Stockler continues to be moved by the ability of light to turn what is apparently ordinary into something extraordinary, but also driven to create contemporary documents and narratives on environmental, social and humanitarian issues.
Based on positive practices and agendas of popular organizations and initiatives, photography and audiovisual projects have become central expressions for the execution of a defined purpose: to stimulate visual debate, through respect and listening to those who live different realities within a same territory. This is the place that photography occupies in his creative process and where Renato pays attention and a critical eye.
Renato is from São Paulo, born in 1978. Journalist graduated from PUC-SP and photographer since 2001. In "Terrão de Cima", the image of a field as an oasis in the urban landscape transforms the red of the earth into a stage for the resilience of popular football and community. Spread across the various Villages and Gardens of the capital of São Paulo, these are fields where unity is the greatest essence of football. Even in the face of all social and political hardships, the terrão is the “football of reality”, far from the spotlight of communication groups, far from social relations mediated by image: the rawness of the terrãos does not fit into a media spectacle. On the ground, whoever is, is.
Regarding the essay "Mar Defeso", the aerial view of spaces is something that allows contextualizing the understanding of an ecosystem, from its presence and strength, to the impacts generated by climate change or human action. On the other hand, cut-out graphics allow us to deconstruct the documentary vision, creating new scenarios and possibilities for viewing certain territories. Thus, the enchantment with the view was inevitable: the small cutouts that seem to be constructed randomly in the landscape mix to the point of creating their own textures, in a point of view that a horizontal view does not allow. They are tanks in the shape of giant swimming pools that from above fit into a non-linear puzzle like cubist landscapes. But these are real.
Based on positive practices and agendas of popular organizations and initiatives, photography and audiovisual projects have become central expressions for the execution of a defined purpose: to stimulate visual debate, through respect and listening to those who live different realities within a same territory. This is the place that photography occupies in his creative process and where Renato pays attention and a critical eye.
Renato is from São Paulo, born in 1978. Journalist graduated from PUC-SP and photographer since 2001. In "Terrão de Cima", the image of a field as an oasis in the urban landscape transforms the red of the earth into a stage for the resilience of popular football and community. Spread across the various Villages and Gardens of the capital of São Paulo, these are fields where unity is the greatest essence of football. Even in the face of all social and political hardships, the terrão is the “football of reality”, far from the spotlight of communication groups, far from social relations mediated by image: the rawness of the terrãos does not fit into a media spectacle. On the ground, whoever is, is.
Regarding the essay "Mar Defeso", the aerial view of spaces is something that allows contextualizing the understanding of an ecosystem, from its presence and strength, to the impacts generated by climate change or human action. On the other hand, cut-out graphics allow us to deconstruct the documentary vision, creating new scenarios and possibilities for viewing certain territories. Thus, the enchantment with the view was inevitable: the small cutouts that seem to be constructed randomly in the landscape mix to the point of creating their own textures, in a point of view that a horizontal view does not allow. They are tanks in the shape of giant swimming pools that from above fit into a non-linear puzzle like cubist landscapes. But these are real.