Batir las alas / Luz negra

Horacio-Coppola

Horacio Coppola

GRACIELA S. SILVA |

Una persona se arroja a la nada. Al tiempo, una bandada de pájaros sobrevuela una azotea. El fotógrafo argentino Horacio Coppola nos deja imaginar diferentes historias en un solo escenario.

Encuadre enigmático y de un gran cuidado estético, lleva su misterio incluso en los datos de su captura, los cuales no parecen ser revelados en ninguna parte. Podríamos pensar —más por probabilidad— que del mismo modo que su obra más conocida, ésta fue hecha en la década de los 30 en Argentina; sin embargo, también realizó una parte notable de su trabajo durante sus estancias en Europa. Coppola tuvo, además, una longeva existencia.

Su formación en la Bauhaus y su relación con la arquitectura formaron su visión; casi en todas sus fotografías podemos ver elementos del contexto urbano que nos remiten a su estilo. Las líneas, los puntos de fuga y la pulcritud son elementos que constantemente busca fijar a través de su lente.

Capturada a contrapicada, la fotografía de Coppola muestra dos edificios adyacentes que son testigos de una escena muy particular: una persona parece brincar de uno de ellos. Los significados pueden ser muchos, pero nuestra mayor intriga recae en la necesidad de saber cuáles son las intenciones del retratado y del autor. ¿El personaje intenta volar como las aves que lo acompañan? ¿Acaso intenta brincar hacia el otro edificio?, ¿hacia el vacío?

Aunque el brillo del sol proviene del lado derecho, la imagen se muestra en evidente contraluz; la iluminación en las paredes del edificio izquierdo es muestra de ello, en claro antagonismo con las sombras que se producen en la construcción opuesta. La sensación de oposición es mayormente notoria sobre el sujeto, pues se encuentra junto al punto más iluminado de la escena: las nubes, que acentúan la sensación de altura.

El encuadre nos muestra una escena que ha sido congelada con velocidad de obturación rápida, sin embargo, el objetivo gran angular y la cantidad de luz que permite el uso de un diafragma medianamente cerrado, dan lugar a una gran profundidad de campo que mantiene en foco toda la escena.

Horacio Coppola prefirió el uso de una cámara de 35 milímetros en una época en la que era común emplear de 120 milímetros o de gran formato. Empleó una Leica que lo acompañó mucho tiempo con su precisión y asombrosa óptica.

Como pocos, el artista tuvo la oportunidad de observar ante sus ojos el curso de un siglo de evolución constante. Nacido en 1906 y fallecido en 2012, Coppola llegó a los 105 años con el recuerdo de la evolución del cine, sus visitas por el mundo y, sobre todo, con la sensación de aún no haberlo visto —ni fotografiado— todo.

| RMM | GSS | Luz negra | @Versalisima |

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