Statements


Silence (2009-2015)

Over the last years I have been looking for natural landscapes and spaces that suggest an idea of silence, with the intention of giving it a tangible form through my own photography.

This body of work was born back in 2009 with my first visit to Iceland and the fascination for the beauty and melancholy of the Icelandic landscapes. Later on I discovered places that have been dislodged from their original context, places that have been abandoned, or forgotten. Thus the core theme in this work is the silence, in nature as well as in spaces of desintegration and decay as an indicator of the inevitable and progressive of linear time.

Inspired by painters from the 19th century, I attempt to evoke to meditation by combining visual material in a way that resembles the arragement of words in a poem, seeking for a balance among them and blurring the boundaries between the naturally-occurring and the man-made, between painting and photography in a series of diptychs and triptychs.

I establish links between decaying interior spaces with pristine natural landscapes, creating metaphors about the fate of those interiors returning to their initial state, where nature regains its lost space. I try to find images that are complementary and that somehow relate, either by the type of light, texture, colour, the atmosphere that they transmit or the aura they have. There must be something that unifies them and they should give us the feeling that they belong to the same place; that they belong to each other.

Each work, part of a series, could function independently, however, when combined, the dialogue and balance between them manage to convey my own system of seeing and understanding. I try to create atmospheres that are located between fact and fiction, reality and imagination.


Unfinished Dreams (2015)

The series Unfinished Dreams originated in the summer of 2015 in Kea, one of the Greek islands of the Cyclades archipelago. Alone or in clusters, set in the barren landscape and built up until about 2009, these unfinished buildings are indicators of the discontinuity of history.

Unlike the buildings located in the immediate vicinity of the ancient city of Karthaia, they have no harmonious relationship with their natural environment. Instead, following the principle of modernity, there is a contrast between the softness of the topography with the strict geometry of the architecture. At most, aligned with a spectacular view, the unfinished elements of the building site look rather random. The construction process has left scars in the natural soil, which are successively covered by the sparse vegetation.

By exposing the "core structure", of which every visible part is at the same time an indispensable part of any finished construction, the skeletons provide an abstract image of architecture. By providing no evidence of room layouts or intended formal expression, they allow the viewer plenty of room for interpretation, which is in an inverse proportional relationship with the degree of completion.


Espacios (2016)

The series entitled Espacios consider the importance of various spaces and the impact they have on their inhabitants, as well as their relationship with the fields of religion, culture, education, entertainment and politics. It stands to reason that the interaction between individuals who are involved in social processes is influenced significantly by the surrounding environment.


Short passages (2017)

The work Short passages, is based in the act of gathering and realigning images, which serves to generate new associations, new figurative and conceptual realities. The way I create visual essays, is developed around my own doubts and curiosities about the mysteries I encounter in the world, through my own personal experiences and interpretations. The foundation of my photographic series is based on stories, which are, whether a framed moment of intimacy or a interpretation of a given reality.


Now I am gone, and I did have a name (2017)

Der Mensch hat sich als wanderndes Wesen über die Welt ausgebreitet. In Zehntausenden von Jahren Menschheitsgeschichte hat er sich, von Afrika ausgehend, immer bewegt.

Kriege, Eroberungen und Vertreibungen, die bis in die Frühgeschichte zurückreichen, haben Fluchtwanderungen ausgelöst. Selbst die ältesten historischen und literarischen Quellen berichten von Flucht und Vertreibung, von dem als Katastrophe empfundenen Verlust der angestammten Heimat.

In meiner Arbeit Now I am gone, and I did have a name, erscheinen die Namen von 105 der vermutlich über 300 Menschen, die in der Nacht zum Donnerstag den 03.10.2013 vor der Küste von Lampedusa ertrunken sind. Auf der Flucht vor Bürgerkrieg, Hunger und Elend strandeten seit den 1990er-Jahren in Lampedusa über 200.000 Menschen aus Afrika und Asien. Man schätzt, dass in dem gleichen Zeitraum zehn- bis zwanzigtausend Menschen bei der Überfahrt ihr Leben verloren.

Bei allen Statistiken gerät leicht in Vergessenheit, dass für jede Zahl ein Mensch steht, der einen Namen und eine Geschichte hat, der die Ersparnisse seiner Familie dafür aufgewendet hat, Armut, Krieg und Chancenlosigkeit zu entkommen, und dafür sein Leben aufs Spiel gesetzt hat. Solange Menschen in ihrer Heimat keine Zukunft haben oder nicht sicher sein können, den nächsten Tag zu überleben, werden sie sich weiterhin auf den Weg machen, dorthin, wo die Lebensbedingungen besser sind, oder zumindest Chancen auf eine bessere Existenz bestehen.

Die Arbeit ist so konzipiert, dass sich Namen, die sich im Innern eines Leuchtkastens befinden, scheinbar unterhalb der Wasseroberfläche schweben. Sie stehen stellvertretend für die vielen anderen Geflüchteten, die vielleicht das gleiche Alter hatten, den gleichen Namen trugen und deren Körper sich am gleichen Ort am Boden des Meeres befinden. Die Namen der Opfer, bekam ich im Rahmen einer zusammen mit anderen Künstlern initiierten temporären Kunstaktion, die am 2 Dezember 2013 in Brüssel vor dem Europäischen Parlament stattfand.