The Desires of Dionysus.
Décors and Feelings
„I have always been desired. People have looked at me with longing, with hunger, sometimes with tenderness. They have touched me, whispered to me, promised things they could never keep. I have spent my life waiting for someone to love me without demanding that I change.
And yet, whenever someone does, I start wishing they were someone else.“
I don’t work with images; I work with perception.
Joerg Alexander
Der ferne Hunger
The precision of forgetting.
„Sí, claro que tenemos hambre. – Hambre de libertad, de oportunidades, de ser quienes somos, y no quienes nos han dicho que debemos ser.“
“Yes, of course we’re hungry. – Hungry for freedom, for opportunities, for the chance to be ourselves and not what we’ve been told to be.”
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
‚Unseen Scripts of the Feminine.‘
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.
Imprint, not pattern.
The analog image is bound to what was there: one place, one hour, one light that will not return. Film does not generate, it receives. Something real touched the emulsion, and the trace keeps its origin. Every negative says: I was present. That is its whole authority.
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.
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.