biography
It all began in the summer of 1981. My father took me to a movie theatre that no longer exists. I was 3 years old and it was my first exposure to cinema. I enjoyed the movie throughout but, suddenly at the last reel, I detached myself from it and started to look at people's faces and their emotional reactions to what they were looking at. At that moment I was somewhat aware of the power of images. It was an uncertain feeling but that realization had an effect on me. That night I had the first dream I remember.
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I was 15 years old when I discovered a Yashica camera in my parent's wardrobe. I bought a film roll and head to a river near home to test it. Before that day I thoroughly watched lots of films on tv; some of them I taped and studied regularly. Hence that day I was also testing me and it was the first of lots of other rolls I shot in the next three years. I had an interest in pushing my creativity in order to find some kind of new images to express what I had in mind at the moment. Some of this films were destroyed, some are unwatchable, others simply ridiculous and a fraction of them are still interesting. But I learned something from all of them in one way or another.
* * *
I studied economics and journalism just before I returned to my real needs and started shooting short films on 35 mm. Then I explored the boundaries between film and video creation during two years. As a result of too much self exposure I had a feeling of complete emptiness, a sense of having gone too far without a hint at how to return.
* * *
It all began when a photographer friend of mine, Raimon Estrada, suggested I should try photography. It never occurred me, although I did some experiments with color slides some years back trying to mimic the look of the old technicolor pictures. Black and white was an obvious choice for me, as it pulls the senses to a concealed realm with its own rules. I took a Mamiya RB 67 and started doing tests and finding a new way to convey feelings, ideas and stories. Thus resulting “Déjà vie” a continuing series of sequencial photography, where I try to push still image beyond its limits using multiexposure, photograms, multilayering, retroprojection, optical manipulation and every means to physically transform the photographic image and achieve something unique.
Selected works
- Strange in the city (1996; s-8)
- Green on blue (1996; s-8)
- Tauromaquia (1997; v)
- Unknown masterpiece (1998; s-8)
- Evolution 1856-1999 (1999; v)
- Nausea (1999; 35 mm)
- All the rest is silence (2000-02; 35 mm/Dvc)
- Fragment 0 (2004; Dvc)
- 21 fragments (2004; photo)
- Liliths (2004; photo)
techniques
“Déjà vie”, a continuing series of sequencial photography.
Using techniques such as retroprojection, multiexposure, multilayering, optical manipulation, photograms and any other means to transform photographic images into something unique.
Photochemically processed and enlarged, there only exists one pristine copy of each series printed on 11,5 x 14,5 inch. silver gelatin paper.