Nineteen-year-old Argentinian Julián Cabral is a student and photographer based in Buenos Aires. He took up the camera five years ago, discovering the documentary genre a couple of years later, and likes to explore the relationship between humans and their environment. His successful submission is a study of his chronically schizophrenic Uncle Carlos, known by the nickname Lito and after which Julián’s project Lito was named.
‘My uncle Lito has suffered for many years from issues that seriously affect his mental health’, says Julián.’ Today, after several decades, the reality is critical, the days that he steps on the sidewalk are becoming less and less, his words are not the same as before, and the sadness grows. His only light in the morning is my mother, my two brothers, and me. We are the only reason why he decides to continue walking the path of madness, for which he swallows a dozen pills a week, deigns to get up, turn on the radio and change the shirt he has been wearing since last month.’
Julián’s work was taken in his uncle’s house and shot from December 2021 to September 2023, with an intention of revealing how a person with mental health problems lives. ‘One day he decided to tell me about his life, his mind, what a person with mental health problems lives, feels and thinks’, says Julián. ‘A part of society which in my country and throughout the world is forgotten and made invisible. It brings to light the difficult situation that this part of society goes through. The most important thing with this work is for me to be able to leave a memory of the unfair life that my uncle and my family have had to go through.’
His uncle’s condition, and Julián’s photographic response, has clearly had an impact on his family. ‘One day, one moment, one second that I remember every time I talk about my submission is when I took the photo with my whole family and my uncle separated by a wall. That image was very important to me, seeing my entire family helping me narrate the reality of my uncle. This work was a very personal, very close work, which tries to show not only my uncle’s life, but that of my family. That day my two brothers, my parents and I were all at his house. The light was perfect. I placed my brothers in their respective places, I told my parents where to look, I waited for Daisy (my uncle’s cat) to approach his feet, I breathed for a second and I shot the image. After that moment, I felt complete, fulfilled, as if I had been able to get something out of myself. I felt like I was telling exactly what I wanted to say. It’s something very simple but for me that moment meant a lot.’