Brazilian photographer Claudio Silvano’s first photobook La Halte (“the stop” in French) offers a nuanced observation of the Fontainebleau forest, located a few kilometers south-east of Paris.
La Halte is about paths, trails and hidden connexions. About the entanglements of humans and non-humans, roots and stones, and a photographer walking through a site that was profoundly shaped by figures before him. But while some artists before him saw emptiness, Silvano’s forest is acutely populated. There is more movement than stillness - the effects of the passage of time on a trunk tree, the wind that erodes rocks, the pools of water created by rain.
As a photographer, he is interested in the materiality of his surroundings, in surfaces and textures, in shapes and patterns - all the while being careful to portray these entities as subjects, full of existence, not mere metaphors.
Human marks of intrusion are exposed not as indictments, but as simple facts. Silvano acknowledges this is a land in motion, a forest constantly shaping ourselves, even when we’d like to believe to be the protagonists.