If you imagine an ordinary moment
at an intersection in ‘‘London’’,
and there is a pause because there is a streetlight,
and some people are stopped and others in motion,
and some cars are stopped and others in motion;
if you were to put that into film terms as a “freeze frame”
and hold everything for a second,
you would realize
that there’s a universe there of totally disparate intentions,
everybody going about his or her business
in the silence of their own minds,
with everybody else
and the street
and the time of day
and the architecture
and the quality of the light
and the nature of the weather
as a kind of background or field for the individual consciousness
and the drama that it is making for itself at that moment,
and you think about that,
that’s what happens in the city,
in that somehow the city can embrace and accept and accommodate
all that disparate intention,
at one and the same time,
not only on that corner,
but on thousands of corners . . . .
E.L.Doctorow, introducing Ric Burns’ New York: A Documentary
If you imagine an ordinary moment
at an intersection in ‘‘London’’,
and there is a pause because there is a streetlight,
and some people are stopped and others in motion,
and some cars are stopped and others in motion;
if you were to put that into film terms as a “freeze frame”
and hold everything for a second,
you would realize
that there’s a universe there of totally disparate intentions,
everybody going about his or her business
in the silence of their own minds,
with everybody else
and the street
and the time of day
and the architecture
and the quality of the light
and the nature of the weather
as a kind of background or field for the individual consciousness
and the drama that it is making for itself at that moment,
and you think about that,
that’s what happens in the city,
in that somehow the city can embrace and accept and accommodate
all that disparate intention,
at one and the same time,
not only on that corner,
but on thousands of corners . . . .
E.L.Doctorow, introducing Ric Burns’ New York: A Documentary
PORQUE SÍ
‘’ Porque sí ‘’ is a Spanish term which means ‘’ because I say so ‘’ It is a strongly conceptual project based on a narrative which is read visually by both research and collage methods.
My aim is to break the sharp answer ‘’because I say so’’.Making clear that it is simply the easy way out. Everything has a reason or story behind. Taking inexpressive images and banal shots scenes from Stephen Shore’s photography as my main inspiration I have managed to create my own story and only after, take a shot to the outfit designed in context with the story.I want to disarrange the accumulated tension on the fake stillness of the images, to find out the action that causes this reaction, and I want to suggest that ‘’because’’ is just an illusion created by us.
''Dr.Schultz diagnosed me with agoraphobia 31 winters ago, since that moment I have just been breathing my aunties little room’s air in Barcelona. I have become part of it.''
