My background conceives proper photography at a horizon of perfectibility; this is somehow still present in my practice, though in constant dissonance with my purposely flawed narrative. I’m drawn to imagery that isn’t burdened with visual conventions. I look for sunspots –for brutal honesty and deliberate imperfections; for an intentional prevalence of a rough see-through quality.
I see the nature of light as unsettling; and, as a light impression, thus I see photography’s. Therefore, and attuned to the notion of photography as an unstable medium, my approach is rather subversive. There is something about that which poses how fragmentary our experience is that I find particularly alluring. And, having worked with both film and signal processing has done nothing but feed my fixation, focusing a great deal of effort in approaching a better understanding of the indeterminacy of the continuous in contrast with the very graspable discrete.
As Susan Sontag wrote in her 1977 publication On Photography: ‘(…) the force of photographic images comes from their being material realities in their own rights, richly informative deposits left in the wake of whatever emitted them, potent means for turning tables on reality –for turning it into a shadow.’.
Sand / Eat Sand is mounted as a succession of curated fragments, fragments that bear a somewhat bitter or distressful relationship to reality; but –for over that– a tainted pulse, an acknowledgement of the medium as matter. Also, as an unreliable capture, and a contextless product of time and space. Sand / Eat Sand is a 16mm experimental film. A restless attempt to find this pulse, to disclose a strayed awry narrative. The film aims to master a partial control of the outcome imagery while forcing the camera’s malfunctioning.
Video (1920*1080, Frame-by-frame 2K resolution capture system, 2020, 16mm film shot in Kodak 7222/Positive masked double exposure using contact printing, ‘Sand / Eat Sand’.