© Fabiola Cedillo from the series "Depression in Zaruma"

Tell us about the project “Depression in Zaruma” selected for the Urbanautica Institute Awards? What is the motivation and the theme you addressed?

Fabiola Cedillo (FC): It all started with the news about a sinking in the center of the city of Zaruma. I was curious and went to see it with my own eyes. Being there, I became very personally linked with that territory. “Depression in Zaruma” marked a new way of working; it was the first time I delimited a place and traveled there to photograph. As if it were a meditative act and being with myself, each trip, five hours on the bus, three or four days alone in town, I walked, I observed the architecture, the nature, and the people, hoping to find a piece of myself in them... I finally realized that this territory was an analogy to my emotional state.

From an editorial point of view, what choices guided you in the selection of the final portfolio?

FC: I chose images that were related to mining but also ambiguous images that are open to various interpretations. In this edition, I wanted to show images with a lot of color and strength because I wanted one that was aesthetic and invited me to delve into the story behind it.

© Fabiola Cedillo from the series "Depression in Zaruma"

© Fabiola Cedillo from the series "Depression in Zaruma"

© Fabiola Cedillo from the series "Depression in Zaruma"

How does this work fit in your identity statement as a photographer and if relates any with your previous works?

FC: This work talks about women; it is not independent of the other previous works. It talks about mining activities both in the geographical territory and in the body and life of women. It is my first work in which there is a self-portrait, and I talk about my feelings in the first person.

Tell us about your approach to photography in general. How did it all start?

FC: I discovered photography by chance. I studied psychology for three and a half years until I migrated to Madrid from Ecuador. I couldn’t finish my psychology studies in Spain, so I enrolled in two technical degrees, one in sculpture and the other in photography. At first, it was like a game; I used the camera to enter anywhere and get closer to anyone, which fascinated me the most. I remember that at the beginning, I photographed, without any expectations, to enjoy different experiences. Now that I’m not only doing personal projects but also doing photographic commissions, I try to be more aware, and I’m not so spontaneous anymore. It’s not such a naive photograph; it has a more evident intention, which I think is good.

© Fabiola Cedillo from the series "Depression in Zaruma"

What are the themes that interest you, what generally attracts your observation?

FC: I am interested in people’s vulnerability, desires, fears, power, and the paths we take to achieve our dreams. In any person, however different, some stories unite them with other human beings. Topics such as neurodivergence, social dissent, capitalism, and sibling relations are what I have in my head right now.

© Fabiola Cedillo from the series "Depression in Zaruma"

From a methodological point of view, what is your approach to the medium? How do you envision or conceptualize the projects?

FC: A project always starts before I know it. I suddenly find myself photographing non-stop, in an obsessive way. That’s when I begin to wonder what I want from that place, that situation, or that group of people. Firstly, everything is quite visceral, and then I intellectualize it. And this happens above all in the editing process when I clarify my ideas and specify goals, topics, and methods. Generally, the issues that I address are quite broad yet with a relevant urgency.

© Fabiola Cedillo from the series "Depression in Zaruma"

© Fabiola Cedillo from the series "Depression in Zaruma"

© Fabiola Cedillo from the series "Depression in Zaruma"

Does research play any significant role in your practice and project development?

FC: Yes, in my first works, I photographed from instinct and curiosity. Today, when I start a project, I read a lot on that topic and talk to my friends and strangers about what I’m researching. I get a little obsessed. In my latest project, research has taken on greater importance, especially since it involves many personal stories.

Any interesting books that you recommend and that recently inspired you and why?

FC: I am currently reading Desiree Bela-Lobedde’s “Minorities,” which are women’s stories. I have a few pending titles on human reproduction, human trafficking, and adoptions: these are issues that I am working on. Still, I feel the need to know women’s stories comprehensively.

How important it is to showcase your work. What about exhibitions or other forms? Any tips or experience to share?

FC: My biggest motivation to be a photographer is seeing and meeting other photographers. Seeing exhibitions, visiting museums, and feeling these images, objects, and sounds in such a strong and powerful way made me say to myself, “I want to do this because I want others to be as excited as I am.” So when I show my work, I give a gift. In Latin America, there are few galleries, and communication from country to country is difficult. I have had more exhibitions abroad than here in Ecuador, which could be more encouraging because I always want to show my work to my people. But it still makes me happy to have had exhibitions abroad since my work touches broad or global themes, but I would like to have more presence in Latin America because I want to create a dialogue with my society.

© Fabiola Cedillo from the series "Depression in Zaruma"

How do you see the future of photography evolving, what are the next challenges?

FC: What is happening with NFTs and virtual exhibitions is interesting. Still, it also makes me think that on the screen, the fixed image will disappear and that we will finally return to the printed image, that the “fixed” image will once again be on paper. I believe there will always be a return to the beginning, and unfortunately, I think that the printed image will be more elitist than now.

Do you privilege any camera or process in particular? Tell us about your equipment ...

FC: I use a Hasselblad. I like to use color film; it’s a pity that in my country, it’s hard to find a laboratory to develop it. Likewise, it’s not easy to get rolls, and I can only buy them abroad; that’s why I shoot very little. I feel that my projects have a languid pace, and I think it is due to the technique. In recent years I have felt that I should go 100% digital. I guess this will happen little by little.

It’s not easy to pursue the authorial path, it requires time, energy and resources. What strategies do you adopt?

FC: Developing my personal work is a necessity. It is my way of communicating what I feel and understanding the world, for which I am constantly looking for support to cover the development of these projects. However, my daily work and my savings also intervene when necessary.

Fabiola Cedillo (website)
Winner URBANAUTICA INSTITUTE AWARDS 2021