My use of Photography

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 itself.”

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.”