reverso - morphogenesis


Photography series

FRONTIER BODIES - Morphogenesis


Dissolution of the multiple body




   
cuerpos frontera1
   
 
cuerpos frontera2
cuerpos frontera3
 
 
cuerpos frontera4
cuerpos frontera5
cuerpos frontera6
 
 
 
 
 
 
 
 

 
 
 
 

 
 
 
 
 



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 mor
e concrete, and that in the morphological play of the images tha proposal of a cocrete them would onlyu open up the horizon of events.

 

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