Calima

This work is a study of time, landscape and human being through the experience of the image. A sensitive exercise about the transformation suffered by the individual and his environment, using the allusive figure of the factory, the manufacture and industrialized environments. The fine matter -the dust- that covers these places serves as a point of disconnection, disintegrating, erasing or isolating the elements, and is also the union phenomenon that surrounds them.

The images and actions that lead the investigation show the materialization of this change, allowing to glimpse its seams, all this in a journey through space from its most general perception to the most personal and intimate. In the middle, be- tween the barrier that separates the tangible world with the inner plane of being, between the light bounced off objects and the lens of the eye, a thin layer of dust: the haze. Separating tunic that enve- lops the vision and seems to adhere to its corneal membrane, in the same way that it would do to a window.

Paisajes Prohibidos

With Forbidden Landscapes, the Krater collective brings us closer to an unknown reality: military ruins and territories owned by the army that are inaccessible to citizens.

With a discourse centred on the human impact on the territory, Krater presents us with an installation where aerial photographs of the military zone of the islet are converted, by their composition and pictorial presentation, into aesthetic pieces of enigmatic beauty.

This mural installation is completed with the publication of a fanzine that sheds light on the theoretical concerns of the collective and shows different photographs of forbidden landscapes that the collective itself has taken on the island: military ruins that Krater wants to give a new poetics based on the principles that Kant proposed in On Perpetual Peace.

PSJM,

Las Palmas de Gran Canaria, 2018

Éxodos

Éxodos (Exodus) begins as a search journey through the trail of the city and the abandoned places. The work stages the dematerialization of the dust offering an introspective look at the landscape. A path inland, which tracks down the intersection where it is absorbed by nature.

Part of the strength and weight of Éxodos lies in the production of the images, each one a piece in itself and with its own history and development. The project thus runs away from the concept of a “series” typical of photography, in which several images are necessary to arrive at a whole, opting for a process more similar to that of painting.

Relatos

Stories is a meeting point between different stories running towards the same theme: memory. A treatment on the dialogue generated between the trace and the environment, with the purpose of restoring -by means of fictitious resources- the fragments that make up the memory. All this within a context to which meanings determined by individual appreciation and that of a social fabric are added.

From this base, we propose to elaborate a work that uses archival material (photographs, audio recordings, documents, objects...) under a process of encounter, classification, creation and alteration. As a result, a collection of works is presented around the same conceptual theme, which starts from the material found -and later modified- and offers a vision of events led by unknown subjects. The work has a narrative structure and is determined by the appropriation of elements and their anonymity. This approach addresses issues that explore the concept of identity through the environment and the trace. With environment, reference is made to the places linked to each memory, which are reached thanks to the trace: the objects, documents and images that -as traces- reconstruct each story.

The collection is made up of four stories in sequence that integrate stories through details or flashes that act as traces of those events. Olvidados shows part of the life and feelings of several immigrants through a wedding album, several objects and a sound record. With Strikethrough the action is more focused on the personal afflictions a couple suffers during the events collected in a travel album. Saved transfers the scheme to the history of an ancestor by means of an old family album. Finally, Despojados shows a non-existent story through an album without photographs and a collection of empty frames, in a simile to all those stories that disappear, are hidden or that someone has decided to get rid of.

The set of works concludes with an exercise in attention and observation that predisposes the spectator to attend to experiences and stimuli and make a critical and empathetic judgment of the emotions. The stories are shaped by the supposed objectivity of the archive and the credibility of photography, and their basis is made up of the different realities that form a fiction, which cannot be distinguished.