This exhibition brings together two collections, Murmurs and compressions, showing different ways of talking about the same thing: the aesthetics of complexity. On one side, through the Euclidean forms of the walls photographed frontally, and secondly through the organic forms of squashed animals on the roads. In both cases, some figures are generated on a background remembered that defines the boundaries of complex net textures. A set with formal coherence is obtained from the dynamics that have generated it: physical events have shaped these objects without any formal intent but with the persistent and systematic friction over time. Texture, geometry and tonal range are the elements that these photographs attempt to create images that vibrate between the abstract and the figurative.
Venue: Kowasa Gallery C/Mallorca, 235. Barcelona. SP.
Dates: (Opening el 27) from 28 September till 3 November 2012.
MURMURS
It is an attempt to overcome the system perspective of photography. Working with the camera as a collector of information, as if it were a sheet overlying the wall above which rub with pencil to bring up the texture, shape and colour (in this case) of what's underneath. Trying to see an almost tactile, like letting slip the view over the wall. Some images, therefore, trying not to "re-present" but "present", ie not show the picture as a window into another reality, but as a new independent and self-object, as a new element to the look does not go through but it gets stuck.
Photographing not as a hunter (pointing and shooting anything that moves) or as a fisherman (as Cartier-Bresson said, waiting patiently somewhere that "stings") but as a collector, who fills his chamber with objects that are on the road, feeling perhaps, but the pick that would spoil. Understanding the wall as a receptacle of information: As a vinyl containing information on its slots to hear the music played at another time, the walls also contain traces recorded in history that have shaped them. We do not have the decoder to reproduce what happened, but what we can see is that this information is actually contained there. Shoot to accumulate this information to ensure we do not lose it. Look at each with its peculiarities, its details, its imperfections ... Save it to see if, over time, we mutter something.
COMPRESSIONS
In the picture we are constantly passing from three-to two-dimensional planes without us being aware of the geometric violence that implies. We are in a society so saturated photographs directly see through the "window Photographic" regardless of the collage of flat elements produced in this two-dimensional framework.
Animals on the roads squashed undergo a similar process but, unlike the previous one, showing violence itself contained in the process. As if it were a Cubist photograph, the animal's body parts are distributed in the plane, redefining positions including but maintaining certain relationships that seem to point the way to the original volume.
The result is a slick complex of geometries and textures on a white background, which refers to something organic that we can identify immediately without generating a visual vibration between the abstract and the figurative form that contains the image.
In this paper, we have collected roadkill on roads in Catalonia and the United States and then deposited them on a white background, which is a photograph made without direct light overhead.
