My interest in “the interdependence between image and psyche” first arose during my time at the University Complutense in Madrid where I studied with Professor Maria Acaso. With her, I learned to analyse thoroughly every aspect of still and moving images, especially their ability to influence people’s perception of their personal physical and mental realities. My interest in the relation between Photography and the observer’s psychological perception was further aroused when reading the work of philosophers such as Walter Benjamin, Jean Baudrillard, Roland Barthes and Theodor Adorno, among many others.
At the same time, in the same university, I studied Audiovisual Production as one of my main subjects of my Fine Arts Degree, and a year later I was invited to participate in an international workshop in Paris for young filmmakers offered by the Nisi Masa organisation. The outcome of that workshop was a short film that I was invited to present at the Cannes Film Festival in 2007 in the Semaine de la Critique.
In this short film, “Paris Vitrine”, I presented two opposite worlds coexisting in Paris. A world of mannequins inside shop windows looking towards physical reality as an unattainable dream, against an outer world, populated by consumers looking at manufactured visual illusions inside the shop windows of the 6th Arrondissement.
Soon after, during my Erasmus year at the design school HFG Schwäbish Gmünd in Germany, I continued examining, again through a short film, the role of images in the dialogue between physical and mental realities. “Hologram Hug” is set in a futuristic time where people use a subcutaneous device to generate customised holograms of people that give immaterial hugs. This dystopic work wanted to speculate about the evolution of the psychological codependency between the image and the observer/producer, and the limitations of technology to cover the intrinsic and inner human needs.
After that, I developed, in a very intuitive and unconscious manner, a photographic body of work done by the necessity of responding to an “inner” call: To represent the invisible universe of the self by subverting the photographic norm. Out of focus, extreme close-ups, diffusion, blockage, masks, mistakes, camera errors, pixelation, blurring, juxtapositions, atrophic poses... visual speculation and uncertainty to take observers closer to an immaterial self that lingers in an ulterior world where the eye is not in control.