Ruven afanador mil besos trio
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Religious ceremonies involved the meticulous costuming of saints and marked every holiday, turning narrow colonial streets into rich visual feasts where ordinary objects acquired symbolic meaning; elaborate beauty pageants showcased glamorous women of deliberate beauty and intentional charm; and long hours were filled with the reading of adventure books or listening to the improbable tales of those coming back from journeys abroad, a peculiar form of imaginary traveling which nurtured an intense curiosity for faraway places.
At fourteen, Afanador moved to the United States to attend school in the Midwest, right in the American heartland, a starkly different place from the magical world of his childhood, but one he saw as full of possibilities.
Beyond La Veronal, he collaborates with top companies such as Nederlands Dans Theater, Lyon Opera Ballet, Les Grands Ballets Canadiens, and the Royal Danish Ballet. Purchaser agrees that packing and shipping is done at the purchaser's risk and that the purchaser will pay in advance all packing expenses, materials, carrier fees and insurance charges.
And then, while studying art, he discovered photography.
Reading this volume is to experience a slow, attentive journey — as a witness, as a traveller, as someone invited to reconsider what America has become. It also offers training workshops to enhance professional skills. At the same time, there is stubborn life: occasional portraits of people, wildlife, reminders that behind every sign of decline, someone, something endures.
His work has been showcased in over 30 countries, including venues like Théâtre National de Chaillot, Venice Biennale, Festival d’Avignon, and Sadler’s Wells in London. While in Italy, he also discovered the type of model, that was to become his prototype: interesting rather than conventionally beautiful, of sculpted neck and arms, and the graceful long torso for centuries favored by painters----enigmatic and timeless.
He returned from Italy in 1990 with an impressive portfolio, settling in New York and soon coming to the attention of editors at the major magazines.
She frames these scenes with a photographer’s patience and a poet’s sensitivity — capturing abandoned diners, empty motels, decaying houses, ghostly intersections. Her photographs linger, subtly unsettling the viewer’s assumptions about beauty, progress and decline.
Source: Sarah Laird & Good Company
Ruven Afanador was born in Colombia, in the sixteenth century city of Bucaramanga, La Ciudad de los Parques high in the scenic plateau above the Rio de Oro.
He lived there until adolescence, surrounded by breathtaking mountains and immersed in old traditions and enchanting rituals that imbued everyday life with mystery and wonderment. In its silence and restraint, the book whispers that memory, identity and place are fragile — and that every road carries stories worth listening to.
Or, as he himself puts it, “....into my way of seeing things.”
After graduation Afanador spent two years in Washington, DC, gaining distinction as a fashion photographer of audacious taste, as well as a portraitist with an original and inventive eye. Lack of studio space in the Italian city, forced him to develop techniques for photographing outdoors, in alleyways and streets, on the steps of churches and palazzos, incorporating backgrounds to frame images with texture and depth, a highly conceptual approach that Afanador uses to this day.
In this new monograph, Samoylova retraces the route pioneered by Berenice Abbott in 1954, journeying from Florida to Maine to revisit the places Abbott once documented, and to observe what has become of them decades later. For over a decade, he has directed La Veronal, shaping choreography, scenography, costumes, and lighting. We are happy to provide names of carriers and shippers if a purchaser so requests.
Ruven’s work has appeared in countless publications including New York Magazine, Vanity Fair, Rolling Stone, The Hollywood Reporter, Billboard, The New York Times Magazine, numerous Vogueeditions, Tatler, Elle, and The New Yorker.