I don’t work with images; I work with perception.
Joerg Alexander
Every image is a remainder: fragment, intimation, afterimage. I work with what lingers. Surfaces keep depth. To see is to test a hypothesis, not to certify a truth. I trust the unsaid and the quiet interval where meaning arrives on its own.
Generative
BUZZ do Brazil
What if seeing is already artificial?
Works: series with their own visual world.
Sequences: image groups shaped by rhythm, order and relation.
Seeds: fragments, studies and first visual impulses.
Images as question. Visualization as method.
Evidence, not effect.
Every image is a remainder: fragment, intimation, afterimage. I work with what lingers. Surfaces keep depth. To see is to test a hypothesis, not to certify a truth. I trust the unsaid and the quiet interval where meaning arrives on its own.
Analog
Furniture Shop, Havana, November, 2012
Hand, light, time. Film holds air. Grain is not nostalgia, it is memory. Prints carry the weight of presence.
What does the body remember that the sensor forgets?
Analog for you is proof, not polish. Materials matter. Silver, dye, paper. The look is earned, not simulated.
Body, light, and time – evidence, not effect.
Residues : Between socialism and capitalism, between decay and glamour, colour turns insurgent.
Portraiture : Presence over performance. Faces without theatre.
Wanderlust : Movement as witness. Encountering the ordinary in the unfamiliar.
Motion : Short films. Simple setups, rhythm that carries meaning.
Four paths through a question that never runs dry. Ten modules. One hundred steps. You can start wherever you like. You can turn back. Nothing is mandatory – except for your attention.
LAB
School of Perception. Perception is a practice. Seeing is a language. Three levels of perception, from presence to awareness to transformation.
How do I see? Practice in the field.
SELECTED
Original prints from the current core pieces.
A photo is flat – a compression of sight. It holds light and time on a single skin. You read what is shown, and then something small won’t behave – a detail that snags the eye.
Prints and objects.
PASSANT
I write to steady the hand that photographs.
Writing keeps the work accountable. It is part of the rhythm of thinking and seeing. It slows the process down – sequences form, edits gain reasons.
PASSANT – Thinking out loud.