philippe.michelon
With the Christ on the Corcovado mountain.
his photo is part of a serie
that tries to explores the sharp contrast between Rio de Janeiro’s iconic landmarks — Sugarloaf Mountain and Christ the Redeemer — and the favelas that coexist in their shadow.
I intentionally framed both tourist sites and favelas within the same images, to challenge the selective gaze often encouraged by public discourse and policy — one that celebrates Rio’s postcard beauty while neglecting the complex reality of its marginalized communities.
In some cases, I attempted to photograph the same favela during both day and night. These pairs are not always perfectly aligned — memory and perspective shift — but the intention remains: to offer a more layered, human view of the city, one that includes what is usually kept out of the frame.
With the Christ on the Corcovado mountain.
his photo is part of a serie
that tries to explores the sharp contrast between Rio de Janeiro’s iconic landmarks — Sugarloaf Mountain and Christ the Redeemer — and the favelas that coexist in their shadow.
I intentionally framed both tourist sites and favelas within the same images, to challenge the selective gaze often encouraged by public discourse and policy — one that celebrates Rio’s postcard beauty while neglecting the complex reality of its marginalized communities.
In some cases, I attempted to photograph the same favela during both day and night. These pairs are not always perfectly aligned — memory and perspective shift — but the intention remains: to offer a more layered, human view of the city, one that includes what is usually kept out of the frame.