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Exilio. Pasar a través de lo humano

Luis González Palma

I always had the desire to “affect” my photographic work with the presence of my body. From the beginning of my work I used painting and glaze as forms of intervention on the photographic image. For some reason, I felt that the photographic image itself lacked a corporal caress, and the presence of a body that would attribute it a special aura. To paint the photograph, to tear it, to stick it, to break it, were strategies that I used in order to find my gaze, or the imprint of it. I felt that through these interventions I enabled the image to be read from another dimension.

Many years passed until I dared to use my body directly on a blank surface. It is known that, in photography, images arise without the direct presence of the body: “for the first time the image was not born in the body (or with the body) but outside the body”, as Fontcuberta points out in relation to the invention of photography, which is an idea that I’ve always had in mind.

“Exilio” is a step forward in my process. Drawing is an experience that is related to me, yet I don’t feel like I master this technique. It is a medium where I feel like an outsider, but it gives me the possibility of exploring and expressing directly a way of understanding the world. It is through these collages that I try to reflect sensations that I cannot show otherwise. By drawing, erasing, painting, and hitting I have “exiled” myself from photography. But, like all exiled, I always carry with me memories, fragments of abstract photographs that I continue to integrate into the composition, in a territory that is not the usual to the medium itself.

This project has left my mind altered, it has been an adventure towards fear, doubt, uncertainty around the idea of representation. With “Exilio” I have wanted to walk a path towards the silence of the line, to fight my fears and to try to recover gestures of my childhood, allowing my hand to draw what I cannot yet imagine, but can only intuit.

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