In the middle of the 19th century, Bernadette Soubirous claimed to have had 18 visions in Lourdes, a town in the French Hautes-Pyrénées. The miracles that followed made this teenage shepherdess a mystic and the town of Lourdes the second most popular Catholic pilgrimage destination in the world.
"There will be miracles here" is a visual essay that records spaces, bodies and architectures of a mythologised territory, from a vision that voluntarily places itself on the margins of the "extraordinary".
In this city, which presents itself as unstable and vulnerable, the images seek to show reality in a way that is more symbolic than true. At the same time, the project subdues the author's own prejudices, thinking about life and questioning the profound meaning of the act of inhabiting common spaces.
The portraits constructed in the town, far from the sanctuary, represent common, everyday stories, exploring the relationship between landscape, identity and territory. Normality is seen through the images as a privilege, in a village marked by longing and desire.
This free and personal interpetation of the village of Lourdes, seeks to question how to live in a mythologised and wounded village, which through the images seems to remain in a constant state of waiting.
The photographs are questions that also question the concept of periphery: how does one delimit the terrain of the sacred or the miraculous? The tension between the mental ideas we have of places and reality itself opens up a final question: how much do you have to know about a place to recognise it in its images?
-Ongoing series-
"There will be miracles here" is a visual essay that records spaces, bodies and architectures of a mythologised territory, from a vision that voluntarily places itself on the margins of the "extraordinary".
In this city, which presents itself as unstable and vulnerable, the images seek to show reality in a way that is more symbolic than true. At the same time, the project subdues the author's own prejudices, thinking about life and questioning the profound meaning of the act of inhabiting common spaces.
The portraits constructed in the town, far from the sanctuary, represent common, everyday stories, exploring the relationship between landscape, identity and territory. Normality is seen through the images as a privilege, in a village marked by longing and desire.
This free and personal interpetation of the village of Lourdes, seeks to question how to live in a mythologised and wounded village, which through the images seems to remain in a constant state of waiting.
The photographs are questions that also question the concept of periphery: how does one delimit the terrain of the sacred or the miraculous? The tension between the mental ideas we have of places and reality itself opens up a final question: how much do you have to know about a place to recognise it in its images?
-Ongoing series-
Manual de gestos rusos is a visual essay that addresses how fiction is par of the images we produce and look at. It is a photographic exercise that assumes the uncertainty of our context and that of the photographi medium itself, where the relations between reality and representatio are continually being stressed. The photographic series questions itself, wondering how images ar resignified over time. The title of the project suggests an ironi distancing from what would apparently seem like an intimate diary.
The author collected photographs for 2 years in different countries tha she visited because of work trips and became places of brief existence, along with snapshots of her private life when she returned to her city. The project, sequenced without a linear narrative, combines images o relatives and acquaintances with people and spaces that are foreign to the author, this creates a new narrative in which the borders betwee personal and that which is not, are erased. Is this a personal story or a work of fiction?
The author collected photographs for 2 years in different countries tha she visited because of work trips and became places of brief existence, along with snapshots of her private life when she returned to her city. The project, sequenced without a linear narrative, combines images o relatives and acquaintances with people and spaces that are foreign to the author, this creates a new narrative in which the borders betwee personal and that which is not, are erased. Is this a personal story or a work of fiction?
“Grupo de hombres armados sobre burros" reflects on the disconcerting nature of the human condition, based on the search and resignification of found images from an online platform dedicated to buying and selling second-hand products among users through the Internet.
The photographer works as a "machine/search engine" with the intention of converting the anxious and almost infinite scrolling into a slow visual drift, co-relating images and seeking to provoke collisions between them. “Wallapop” (an app to buy and sell second-hand items online) becomes a new "window" from which to observe the world through images and objects by accumulating, sequencing, and comparing them with each other.
The buying and selling app becomes a huge archive where the images that inhabit it, once isolated and decontextualized, take on new meanings that tell us about origin stories, myths, surveillance, and the relationship between us and technology.
The continuous and unstable flow of data draws a relationship between the accumulation of physical objects and that of images, in a new kind of digital Diogenes syndrome of our time. We save and accumulate. The cult of consumerism shows the power that capitalism has over the generation of images and the way in which we relate to them, revealing something about our (sometimes) absurd ways of living. The relationship between files and machines evolves thanks to an infinite desire to Scroll down that hardly reaches any pleasure or satisfaction.
The images of used objects become a photographic series that relates and diversifies their meanings by reflecting on the absurdity and depth of images outside of their original context. Minerals, dolls or drones are apparently banal objects that, in light of their new use, refer to ontological questions that have haunted us since ancient times; Where do we come from or where are we headed?
The project proposes a necessary pause to reflect on the complexity of individual images and draw conclusions about their apparent objectivity. On this app, users used photography as a mere record to sell objects under a disinterested gaze of poetics, therefore all of the images are shown in the project just as they were uploaded to the website (without any intervention or editing from the author ). The project proposes to speculate on its documentary condition and inevitably also speak about the role of authorship and the intention of the images that surround us.
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The photographer works as a "machine/search engine" with the intention of converting the anxious and almost infinite scrolling into a slow visual drift, co-relating images and seeking to provoke collisions between them. “Wallapop” (an app to buy and sell second-hand items online) becomes a new "window" from which to observe the world through images and objects by accumulating, sequencing, and comparing them with each other.
The buying and selling app becomes a huge archive where the images that inhabit it, once isolated and decontextualized, take on new meanings that tell us about origin stories, myths, surveillance, and the relationship between us and technology.
The continuous and unstable flow of data draws a relationship between the accumulation of physical objects and that of images, in a new kind of digital Diogenes syndrome of our time. We save and accumulate. The cult of consumerism shows the power that capitalism has over the generation of images and the way in which we relate to them, revealing something about our (sometimes) absurd ways of living. The relationship between files and machines evolves thanks to an infinite desire to Scroll down that hardly reaches any pleasure or satisfaction.
The images of used objects become a photographic series that relates and diversifies their meanings by reflecting on the absurdity and depth of images outside of their original context. Minerals, dolls or drones are apparently banal objects that, in light of their new use, refer to ontological questions that have haunted us since ancient times; Where do we come from or where are we headed?
The project proposes a necessary pause to reflect on the complexity of individual images and draw conclusions about their apparent objectivity. On this app, users used photography as a mere record to sell objects under a disinterested gaze of poetics, therefore all of the images are shown in the project just as they were uploaded to the website (without any intervention or editing from the author ). The project proposes to speculate on its documentary condition and inevitably also speak about the role of authorship and the intention of the images that surround us.
