he giant monster of steel and steam screamed his desperation to leave out it place, far away. The smoke was white, very white and drew some puzzles in the back of the station. Since very early in the evening passengers were squeezed between the platform and the long line of wagons; it was a beautiful train, long and with armchairs upholstered in emerald green silk. She was not where she was supposed to be. She did not want to be here.
I did not kill her! I swear! She had taken in her hands the will to change their fate. Why? I do not know or do not want to know anyway. For Love? Cowardice? No, no no!
This week, we’re featuring a new collaboration between photographer Naama Sarid, whose work we’ve featured in the past. Naama has been kind enough to share her work with some of our other contributors, and they have been writing and creating based on her wonderful photography. This piece is inspired by Exposure № 071: Portrait of an Hysterical Murder. See Naama Sarid’s other Snake-Oil Cure contrubutions here.
Conrado Sarid-Maleta’ is a Cuban photographer and painter. He left his home country six years ago, and has not returned. Most recently, he has lived and worked in Europe, and is now in Tel Aviv, Israel. He learned photography with the help of a great Cuban artist, later continuing alone and working very hard to increase day by day what he knew. Mainly, his works use the visual experience as a means to connect with ideas rather than with techniques or methodological processes. He prefers to be a storyteller rather than a perfectionist. His other contributions to Snake-Oil Cure can be found here.