Photography series
FRONTIER BODIES - Morphogenesis
Dissolution of the multiple body
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This is a series of "pure" photography,
that is with no digital effects or processing. The objective status of the photographic
image is put into question through these abstract "paintings" of the
body in motion. Just like the instantaneous shot of a moment invisible to the
eye, in a sports event or war, for example, is presented as an objective representation,
these series, that represent only apparently the opposite: a long exposure,
time sedimented into a single image, one that, like the shot in the sports event,
cannot be seen by the naked eye.
The camera has been developed into the status of the "real" representation
in our technological industry society yet it is "just" a technology
of representation. There has always been an important implicit link that has
put representation and technology together: for example, realism in painting
through thecamera obscura. Our imaginary is produced through the technology
of the camera, our eye indeed. But there are many representations the camera
can produce. there is a cerytain irony in these "objective" representations
of the body in motion, since their appearance is so abstract.
Each `photographybis a coreography of 10 - 30 seconds long, performaed by one
or two naked "male" bodies. So each photography is in fact itself
a performance, even a form of écriture, of body gesture itself, and its
visual component and excess. Action painting is resignified by these frontier
bodies, possibly queer bodies involved in some sexual kind of embrace: the abstract
paintings are painted by the body in motion as it sediments in the long exposure
of the lens.
There are perhaps references to Bacon and the dissolving self, and certainly
none to futurist representations of movement. If in those movement is represented
through the equal, metronomic division of the superpositions of images, whare
movement becomes an effect of an obious body, here time becomes a liquid and
the body an informal process, with all the subtle nuances of the musical time
of the coreography and body sensations, transparencies, of a body opf light
in permanent process of materiaisation ond dematerialisation, a morphogenesis
of the body that opens up into an endless horizon of signification.
Bodies of fire, forms that become cocrete ghere and dissolve there, this performane
of the body in motion is a perofrmance of representation itself, a representation-of-representation.
That oscillates in the threshold of uncertainty: ¿Is this a body, an element,
fire perhaps? The intriguing appearance of the frontier body does not dissapear
totally through the acknowledgment of the status of the perofrming bodies.
Perhapsthere lies the apocaliptical charachter, the bodies in fire falling into
the abbyss, the screming faces and dissolving bodies of the self in process,
on the verge of the abyss.
thus references are mostly pictoric, in the use of light (Rembrandt), in the
abstract informalism and the transparency (Turner, Zobel) in the expresionism
(Goya, Bacon)... frontier representations of a frontier use of technology that
brings photography ner to painting and far out to something else.
The titles are adding a conceptual and performative layer that could be avoided
perhaps, though not quite. They crash somehow against the abstract surface of
the image and maybe are ansorbed by the lquid undefinable surface. circumascribing
its possible meanings and therefore openinf up a new level of events.
The photographies were in fact taken by myself with the performance of my ex-boyfrined
Daniel, who used to work as a model for me, and myself. in some of them it cannot
be distingushed who is who, in others we are engaged in some sort of embrace,
"dnacing" together in front of the camera. The fact that these abstact
images are an objective representation of queer sexual embrace poses the quiestion
around the nature of explkicit and objective representation. and go beyond the
accounts of current post-porn discourse.
One could argue whether the concrete content has any significancem whether the
images shold be presneted without title or reference, their abstract appearnace
being the only framwork for their possible meanings. In fact the initial intention
was to produce abstract images thorugh body motion. But I soon realized that
in the subtle nuances of light that sediment in the negative there converged
a series of events, that only very faintly came out in the final image, there
where bodies became more
concrete, and that in the morphological play of the images tha proposal of a
cocrete them would onlyu open up the horizon of events.
Suave Ascenso
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Borde de la Luz
Metacuerpos - Microdanzas - selecciones de la serie
Dioses en la Diáspora
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