My Art Work is based on a perception linked to concepts such
as “not belonging”, “foreignness”, “uncertainty” and “insecurity”. The basic
feeling of insecurity is caused partially by an excess of components in reality
and too much information, whilst attempting to show the range between the
perceptible and visible to conceptual thinking; this process illustrates how
tangled up these elements are, to a level where they can no longer be
Wittgenstein speaks about the existence of a concrete experimental area, which
may be outside the boundaries of rational speech, because we can also be silent
But, it is precisely art that might be able to suggest the existence of this
area, without describing it directly.
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Photography is like the sand on the seashore, into which each foot step is
imprinted. It is a place where everything stops, allowing a certain image to
become unique, permitting the act of memory to take place.
The act of photography is different than other techniques; there is a
transparent element in it, which leads to a direction of actuality and
experience. Wittgenstein writes: “Things can be reflected on a polished white
surface, and in the reflection of the images, they may look as if they are
behind the surface, and to a certain extent, shining through the surface
The photography I use in my work is the kind classified as “not-professional”,
in the sense Douglas Huebler refers to: “The world is full of objects, more or
less interesting. I don’t mean to add to them, but mealy to be satisfied with a
declaration of the presence of the things or places.”
In his book Thoughts about Photography, Ronald Barthes relates to a
photograph that was given to him, in which he was present. His memory betrayed
him, and he could not recall the circumstances in which the photograph was
taken. Nevertheless, as the photograph existed, he could not deny his presence
in that place and time.
“I went to see an exhibition of the photographer as if it were a police investigation, to finally learn what I didn’t know about myself.