Absent record. Cámara de Comercio para Medellín Gallery, 2018.
Absentia
This project moves the viewer away from the two-dimensional image, positioning him on a reconstructed photographic scene. It is a spatial experience based on twelve digital photographs taken in 2013 inside the room where I lived with my boyfriend in Bogotá. I chose these shots when I felt distanced from that person during a long residence trip made to Mexico in 2014. Motivated by the feeling of nostalgia that came from those images, I began to question the way of perceiving them, I saw them as empty electronic representations that they lacked other types of data from my sensitive memory. The room is installed inside an empty space that emulates being the original space. Its floor is raised from the normal level allowing the viewer's gaze to descend on the imaginary space. The descent alludes to the experience of landing the plane when arriving in Mexico City for the first time, when looking out the window of the plane, I felt a deep sense of nostalgia that made me think of the city I had left behind and to which I would arrive, I was moving away from the loved one who had accompanied me in recent years and from the space in which we had shared during our relationship.
Artworks
Twelve photographic moments
2018
Twelve photographic moments record. Cámara de Comercio para Medellín Gallery, 2018.
Materials
Reflex camera.
High definition led screen.
Speakers.
Profiles and dry-walls.
Dimensions
0,5 m. x 3,6 m. x 2,20 m. (variables)
Abstract
The installation tour begins with the piece entitled Twelve photographic instants. This consists of a drywall wall built before the rest of the installation. At one point on the wall there is a reflex camera viewfinder inserted at a height of 1.72 meters from the ground. From there originates the sound of a camera shot that invites the viewer to get closer to see through the viewfinder, where you will find the sequence of the twelve photographs from which the project originated. These images are intervened by the grid and technical data provided by the viewfinder of the digital camera with which the images were originally captured. The sequence is given in a video where each image appears within 30 seconds of a black fade. Between each image there is a silence of five seconds and all are preceded by the sound of the photographic shot. Through the sound and the viewfinder, the viewer can construct a mental image of the camera, imagining that there is a device inserted behind the wall. With the fade from the black color, it will be possible to reflect on the capture time of each photograph and the way the image is possibly shaped with light in the sensor cells. My intention is for the viewer to imagine that they can enter said device, to later find sensitive information on the route that modifies what the device itself produced.
Ambiguous moment
2018
Ambiguous moment record. Cámara de Comercio para Medellín Gallery, 2018.
Materials
Digital inkjet printed photography
on Hahnemühle Photo Rag 305 g / m2 paper.
Polyethylene altarpiece.
Led lights.
Dimensions
1,49 m. x 1,69 m.
Abstract
When advancing, the spectators find a door next to the previous work, from there they can see the second piece entitled Ambiguous moment. This consists of a printed and reworked digital image that seeks to break the spatial structure with which the twelve images have been programmed from the camera. The photograph is the product of the digital edition of the twelve files, showing a redrawn space and a built atmosphere. To achieve this, I base myself on the structure of the conical perspective and on the digital manipulation of color, the result is an ambiguous space between the photographic and the pictorial. The image is placed on the back wall, at a distance of 15 cm from the floor and touching the left corner in front of the door. With this arrangement I intend to make aware of the point of view from where the images were captured (the same vanishing point of the work), as well as of the scale variations between the original space and the images presented in the first piece.
Empty moment
2018
Empty moment record. Cámara de Comercio para Medellín Gallery, 2018.
Materials
Wood table
HP Matte Plus Paper Printed in Black
Black velvet
Laser projector
Dimensions
0,71 m. x 0,71 m. x 0,78 m.
Abstract
The third piece consists of a photographic paper printed in black and intervened with the projection of a digital animation. The video reconstructs the light and color variations in the scene from what is remembered. The image appears and disappears on the paper in 30 seconds. The absence of sensitive information is evident in the silences or visual gaps. The work is supported on a wooden table that contains a dark cavity inside. This refers to the interior of the photographic device. The viewer's gaze descends as the image appears, directing the gaze to a point close to the height of his hands.
Absent
2018
Absent record. Cámara de Comercio para Medellín Gallery, 2018.
Materials
Dry-wall
Aluminum profiles
Styrofoam drawers
Wood
Cotton and polyester fabrics
Led screen
Wood sheets
Dimensions
3,66 m. x 4,13 m. x 2,62 m. (variables)
Abstract
The fourth work entitled Absent, takes the viewer away from the two-dimensional image, positioning him on the reconstructed scene. It is a model of the room, installed inside an assembled space that emulates being the original space. Its floor is raised from the normal level 42 cm, allowing the viewer to see the model below his body, so that his gaze descends on the imaginary space, product of the absence of the character in the photographs.