SCISÍFQUÍMICS: Wool Carders
We have spoken often with Joan about the tanned skins of North American Indians of the nineteenth century to explain the "effects" of wet collodion, the same Indians who were reluctant to be portrayed as they believed that photography had the power steal the soul.
I do not know if the "wool carders" have faced the same process with a fear of this kind, but in their case I would say that the legend has become certain, because Joan’s photographs have the ability to "steal the soul" of the portrayed and expose all its internal power, that emerging essence, naked and definitive, when any surface disappears.
The essence of the humble wool carder, which does not want to boast and works quietly so honestly as necessary. They are those who "do not want to be in the picture,” characters of carved stone resistant to all kinds of harshness, as indestructible as the marginalized Segarrencs, often inconspicuous, but that mark us the way…
Joan Porredon Bernaus was born in Cervera (Lleida) in 1964. During his lonely childhood, games were feeding his imagination and by twelve he had already decided he wanted to be a film director. That decision marked his adolescence, and he spent much of his time in a sort of early training between books, magazines, and Super8 mm camera until it came time to begin technical studies EMAV film school in Barcelona.
While studying, he took advantage of an opportunity to join the nascent Televisió de Catalunya as a cameraman. The work allowed him to be part of the film world, yet he desired the opportunity to work more slowly and reflectively, in contrast to the day-to-day work of television.
Soon he began experimenting with photography and before long to work in medium format and to manipulate camera plates. In 1990, he made his first exhibition, both individually and in collaborative projects, and has never stopped showing his photographic work since.
When the time arrived, he changed over fully into digital technology. He submerged himself in it to the maximum until he realized that its productivity caused levels of stress comparable to that of television. Differing circumstances helped him make the decision to de-digitize himself, and he returned to the pull of large format camera. From plate to plate, he had the opportunity to have direct contact with wet collodion in 2011. Since then, all of his energies have been concentrated on this nineteenth century photographic technique.
Place: Fàbrica de Cal Garbat. Mossén Jacint Verdaguer, 8. Vilassar de Dalt