This is a story about women who live in a home that is not theirs and take care of children that are not their own either. They get old and watch their employers get old. Instead, they don’t watch their own children grow. The singing of these women is the lull for others.
Patricia Aridjis’ works highlight it self by its honesty, congruence, and the complicity achieved to document in depth, in this case, the feminine essence. After the emotional crossing that Las horas negras (The black hours) implicated, now she shares Arrullos para otros (Lull for others), which enriches her pulsing sight affection work.
With a creative handling of the camera and a constant moving through places, the photographer gives details about the natural coexistence of nannies and infants, but also she documents women personal conditions: the inside and outside when they are caregivers and when they are mothers, at their own home. Then, landscapes and textures change, but the fly of hanging clothes and ironing persist. Sleep and wakefulness. As the two sides of the same hand, front and back, in the human state you can’t live out from caress. And Paty Aridjis knows this very well. (Blanca Ruiz)
Among her awards, she is a Member of the Sistema Nacional de Creadores (National System of Creators), 2010; Premio de Periodismo Cultural Fernando Benítez (Cultural Journalism Award Fernando Benítez), 2008; Nominación de la Fundación de Nuevo Periodismo Iberoamericano (Nominee of the New Iberoamerican Journalism Fundation), 2008; Bolsa de Trabajo Revela, in Spain, 2006; Programa de Fomento a Proyectos y Coinversiones Culturales, FONCA (Program for the Development and Cultural Co-inversions of the National Fond for Culture and Arts – FONCA), 2002; First place on the Contest of Anthropologic photography ENAH, 2001; First place at the IV Biennial of Photojournalism, 2001; Honorable Mention at the 7th edition of the Premio Ensayo Fotográfico Casa de las Américas (Photographic Essay of the House of Americas Prize, 1998; and the Scholarship for Young Creators, FONCA (1994).