• Eclipse

      Expectations of remembrance are embedded in photography from the very moment at which the film is loaded into the camera. Negatives are sometimes kept in family archives as treasures capable of transporting us back in time. Bits of film that register the beginning of the process of image capture are inadvertently stored right next to the successful photographs that configure the imagery of the family.  
  • Nova

    The expectations of remembrance embedded in film photography resonate in digital photography imagery and the way in which images are produced through smartphone technology. Applications like Instagram allow the user to select a particular image and apply filters that resemble film photographs, which we recognise as the standardised aesthetics of memory imagery. This way, vernacular pictures acquire the status of a memento, standing out from the rest of similar images archived on the smartphone. Through the process of layering those filters onto a blank image, I have unveiled the way in which those pictures are edited and pursued to symbolically disclose how memories are created through this technology. Even though they are a complete fabrication, the resulting images are an allegory of nostalgia and the functions of remembering and forgetting, just like the pictures in the photoalbum.
  • Tears

      Photo albums are the main place where valuable photographs symbolising memories are kept. But when these memories are not valuable to their owners anymore, photographs can be painful and the need to destroy them remarks the mnemonic function of photography. The ripped pictures and their traces are the result of an obvious act of rage. The signs of violence –torn apart pages, scratched ring, identities removed- let us imagine that this is possibly the aftermath of a breakup. By the act of destroying the physical object that holds the photographs, the ripped photographic surface is unveiling the intention of erasing that memory. Nevertheless, my intervention disrupts the process started by its previous owner. Rephotographing this artefact remarks contrasts and ambiguities: From what was intended to disappear to what will now be preserved, from garbage to brand new material, from love to anger, from brutality to fragility, from the private to the public, from the surface of the photograph to what is beneath it. The ripped pages of this album are symbol of both failure and achievement of photography: These memories are not completely destroyed but they will not be complete again either: They will ultimately remain in between remembering and forgetting.
  • Stretch

    Changes in our bodies leave traces that will always last. Stretch marks then, are a reminder of change, a memory of the violence to which our body has been exposed in different stages of our lives. Stretch explores bodies and fabric through the same visual language, comparing the tensions in textiles and skin. While one is superficial and recovers its original shape, the other is deeper and irreparable, therefore is left with the tears that will always point to the experience that caused them.
  • Based on real memories

    The places where we have lived meaningful moments of our lives seem to contain all the memories from that special period. This project is the result of going back to those, and rediscovering every corner, object and light spot, expecting to retain all those keepsakes before time erases them from one's mind, or even from reality itself.
  • The Haggards

    Due to its indexical features, photography is expected to capture reality. However, without a specific context, it becomes too ambiguous and fails to convey meaning. The Haggards deals with the ambiguity of the medium and opens up an enigma that is not solved in the images themselves. These portraits evoke a certain feeling but they have nothing in them that brings the viewer to a conclusion of what has happened to the characters or whether it is fiction or reality.  
  • Hortopies

    Hortopies is a project about vegetable gardens surrounding Mollerussa, Catalonia.
    Their owners collect objects considered garbage - plastic bottles, compact discs, tubes- and give them new uses related to land cultivation: as rain gauge, keeping birds away from fruit, tying branches to the trees...
    This book subjectively documents the expeditions to these vegetable gardens where the photographer acts as an explorer searching for garbage archeological treasures.
    Book available on Blurb.com
  • Keepsakes Landscape

    For a child, trivial spaces can become the spot where anything is possible through fantasy and play. With the passing of years, all that is left is the idea of a better time. That way, what otherwise would be a random space, becomes the territory of our recreations, a space of imaginary significance embedded with remembrance. Keepsakes Landscape depicts those lost childhood play scenarios where magic happened. Through photomontage, the elements relevant to memory have been reconstructed in an irreal way, giving room to a strange landscape that does not exist and probably never will.