Introduction

Photography must express what words cannot express. Photography is a silent art that grows strong in silence. The photographer does not speak; the photographer only points out. Pointing out is to isolate and delimit the world. Photography is the fragmentary art par excellence. We do not see the world as it is, but as we are. A photograph that is defined beforehand is a dead photograph. A living photograph is one that is created and actualized by gaze.

Art records the seizures of the social. We must account for the events of our time. Photographing the archive, resampling its documents for a stab in the unconscious. Doing an archeology of the present. Exploring the photographic dimension of movement, where overlays, sparkles, and unexpected analogies appear. Marginal elements emerge as untimely interferences, contiguities that generate metaphors: images of images in a double detachment from the real. We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness.

Artistic procedure:

My work is about the mass media and how it creates new realities. I photograph archive videographic images, working mainly from television broadcasts. I make long-exposure photographic kinescopes that I later edit through digital postproduction.

Influences:

I am influenced by experimental photographers and artists such as Otto Steinert (subjectivity), Edward Steichen (pictorialism), Gerhard Richter (appropriation), Martha Rosler (politics), Masahisa Fukase (narrativity), and Daisuke Yokota (unconscious). I am also interested in the critical theory of society and culture getting inspired by philosophers such as Theodor Adorno (aesthetics), Max Horkheimer (instrumentalism), Jean Baudrillard (hyperreality), and Jacques Derrida (deconstruction).

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