Border crossing: In dialogue with Celia Anahin

With: Juan Pablo Torres Muñiz
There’re times when the subtle ways of an – so to say – invitation result particularly appropriate, an offer, the whole product of dedication, which in themselves signify a revelation, an alluring matter and, nonetheless – it seems – also merely a means for posing us in contemplation… and suddenly they confront us with – the proper fundamental issues.
Then it’s enough to respond with a minimum of delicacy in order to acknowledge that we’re engaged, deeply so. Though we ignore the exact moment when we yielded, and the way it happened, and where the “catch” was, and to what measure we have put ourselves inside it. Furthermore, the question of what is it
Such kind of insinuation, due to its brittleness, is very close to complacency, a nefarious thing; but from such closeness, it faces this, breaks the crystal of the representation’s mirror. It frees the air of its humor’s pollutions and makes way to the subject of our fragility, a certain propensity to be docile to specific flavors.
Celia Anahin’s images create an atmosphere that silences the entourage, that evokes, from its back, murmurs of faraway horizons, abandoned, in sunrises and evenings, to dreams – to forgetfulness.
It takes us away. Let´s go… astray with her.

My works are the expression of the best in me, so I think. There is no ideology, or anything I want to say as a form of protest, or that I wish in particular people could meditate about.
I do what I want, I do not think if I’m going to please someone with my art, because it’s the only place where I feel free, when I can create something that pleases me… I’m not always happy with the result, but the The adventure of having gotten there is often most comforting to me.
I just want to be able to express myself through my images… And maybe that’s the best way for me. With each new world I create, I feel that something deep inside my soul can be seen by someone…, and that, perhaps, I am a better person than I think I am.
Questioning – by sheer assertion. As if putting aside the weapons, and more: the clothes, in order to yield that what’s there – to expose the vision – a revealing yearning (since what matters is the figuration of a shortage), maybe, for light, similar to those of others, maybe not, – provoking at whatever cost the exchange.
Criticism put aside (spared, with your mistrust for a qualification of “better person”), comes the innocent promise: the underlying invitation to follow suit, to let oneself go in the dream with you is often sufficient – it’s the grace of “manners”, this delicacy that takes shape in lines and shades, in the invitation to complete and discover, by the imagination, the detail in each background – ourselves penetrating in the image…With this sort of participation, from the blurred line, we go beyond. Communication. Language.
In the process of its development, even before the use of words for self-expression, the child is sensitive to the images. There is eloquence in the image as a means of representation.
Image is present in almost everything that surrounds us in the contemporary world: product packaging, on the pictures, on the television screen, the cinema or the computers, magazines, children’s books, advertising messages.
You say child and sensitive. – And before we have said innocence. What an invocation: to yield the wonder for permanent novelty and change…
The image always represents something, it is a semi-concrete material, two-dimensional, establishing a more direct communication than the written verbal code, which is presented in an abstract way. Pictorial language predates verbal language writing. The history of mankind records the first graphical communications by symbols Ideographs. Man himself, over time has used the image to express and to represent himself.
… with his doubts, his yearnings…
He’s violent…
In this same portrait you make of the times, surrounded by images, we perceive that pleasing by reflection is essential for consumption. – Representation, not as a complex abstraction, which entails always distortion and therefore a need for exchange or dialogue, but as simple key of a “condition” (an imposed answer: a shortage) that classifies and groups us en passant (a matter of statistics): an offering of another illusion, that of solving with such release the growing –authentic, patent– isolation.
Of course, there’s more. The positive.
Spaces of interactivity inside and beyond television and traditional media…, such as cinema and photography itself. Much more meeting points, new possible intertextualities, which may refer to forms of hybridization still unexplored.
It has never been photographed all over the world. I believe we are living the most imaginative moment in the history of the world. See social networks, where little is said, but the amount of images posted daily is intoxicating. An image tells us that we are happy, or sad, or that we are or are meant to be rich, or that we have an enviable lifestyle, and if we do not have it, we will try to pretend we are happy and perfect. Or not…
Curious: imaginative – by being figurative, – unreal. It’s about running away.
– Noisy need of questioning the nature of such illusions, of running after them.
And paradoxical: the representations you work at are the answer to a temptation of returning to the origin, the primordial (not the primitive), an interior landscape: withdrawal, but not hiding way; getting stray in order to find oneself. Groping, without promises and with the clear possibility of going astray [by the aforementioned closeness of mirrors].
Anyway, it is perceived that we get way from sermons, admonitions.
When I read a large text written by someone on Facebook, it is usually accompanied by an image, as if the image synthesized everything the person wanted to say, or as if the image were essential. The main point of interest, for people to read, maybe occupies three lines, but many of the likes are put because the image makes an impression.
The image tells us… immediately, although music is the artistic expression that most makes our heart pulsate and brings us with so many feelings that no art is capable.
Join photography and music, and there we have something different, very different. I myself am amazed when the musician Satoshi Aki uses my images in his musical compositions because he discovers new worlds in my work, details that I only notice in the videos he makes…
Communication: more than mere expression. There’s a evident purpose of sharing (oneself). Dialogue works beyond the individual; it makes its own contribution: more sides to the prism.
On functioning…
I believe in semiotics. No one ever wrote as well about photography as Roland Barthes, I think. I owe this brilliant writer my definitive encounter with the world of images. After reading his works I decided that I would be a photographer, because I fell in love with everything he wrote. If there is or may be a literature of photography, I do not know… I believe in reading an image, which usually leads to various interpretations, according to the cultural and life repertoire of each person. There is not only a truth about a certain photograph… There is perhaps an intention… There is the spectator.
Maybe it’s for this reason that Art is becoming less popular each time, even more unpopular. Contemplation, questioning, commotion and formation of experience are exclusively personal; abstraction, required by contemplation, is exclusive. Then, that which is shared is correlation, the description of a experience.
We refract…
My art, above all, feeds on my obsession with wanting to transform, to change everything I see into something, perhaps, more beautiful… Or my desire to challenge myself constantly, and to show myself able to do what I dream in my dreams awake, or even asleep (!).
My art feeds on my chronic dissatisfaction with reality.
And reality… becomes virtuality, more and more…
It has its counterpart. There’s more than a few things on the plus side. The same tools, resources, allow us to reach beyond and, also, closer…
I began my adventures in photographic manipulation, even before there was any digital editing program. And that was a long time ago, when I stayed for many hours in a photo lab… I loved doing possible experiments, and sometimes I tried the “impossible” ones.
The digital resources are of extreme importance to my work, no doubt… I would say that I could not survive professionally without them. Unless I go back to a photo lab, which, by the way, would be wonderful. What I can say is that I am able to edit an image on any media that has a simple image editor. By the way, I do it all the time, like an adolescent addicted to video game.
We continue to walk among our absences… 
(Celia, and gardens, prairies, lost beaches. – Sceneries for dates – of silence. Where other voices – wordless – will maybe contribute by their assent, freeing souls of their confusion. Humbleness. It may also shelter this weakness for perfumes of wilted flowers and wet earth and frozen sand – consolation of melancholy; it was finally due to them that we came to share, naked, seated, a play of horizons.
Release, and the sight pleads: a moment, no more…
Meanwhile, music goes on. And she.)
What I wonder every day is: Will one day my inspiration end? Because sometimes I have some periods that I can not produce, just because I do not like absolutely anything I do. Will I ever have discipline in my work?: I also wonder about this… And then I reply to myself, that maybe this is not so important. Will I ever be able to survive on money from my work? I really do care, because I’m not a saleswoman… I just want to wake up every day, or not sleep, and do what I do. Practical life makes me very confused and stressed.
These are other paths…
May today that part of me save me from myself again…
(Translation, by Roberto Zeballos Rebaza)

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