Through the mist, the road: On dialogue with Arim Almuelle

By: Juan Pablo Torres Muñiz



Kilometers, miles; seasons, years. A chance of silence. Violent, inner struggle.

Traveling between, and also different paths, of questions and questions. Eyes eat up its thing, and a different vision, far from the simple representation, it was taking shape. Lets say, making use of the technical term’s double meaning, – indeed, it was revealed…,it was produced…
After all, coincidences regarding: issues to be shared…
Arim Almuelle. Long strides walk; flames on his eyes.
Thick voice and kind manners are part of. The key.
Here and there glass windows, folk art which he knows… Cigarette smoke in between… (That recalls other mists by the way)
 
 
 

Breaking through, the intimation; more than that…
 
They are characteristics, lets say. That’s what someone pretends with the image.
The subjective part of the process where it emerges from, just as you see it.The polysemy; the possibilities: the freedom of interpretation, opened to many ways. And there is also transcendence. Or should I say, conscience’s transformation.
Pretty strong all of this. But I think that’s what it’s all about. Anyone can recognize it when it’d been seen. It’s known.
It prevails.
 
 
In that matter, I return over the Colca Valley exhibition and I say to myself: Good! but for me, photography and art, are also something else…!
 
 
It’s about light, the same that reveals the object and the phenomenon that others could be simply watching, and how it generates through the author (in this case, you), because of the perception that he owes and the conditions that determines it’s moment (physical, biological, neurological); because of his understanding, also his knowledge and intuition, a distinct image.
After all, it offers back a new object that at the same time is instrument. Creation.
 
 
In the reality distortion, that we easily consider unique and present, and perhaps we assume equally for the others, – the dialog possibility…
 
It is also about an open reality, depending on someone’s learning to see from many different points of view.
We know there are paths; there are shapes that help us in those processes… Find yourself… That’s what it’s all about. Waking up.
Contacting someone else.The one who has learned and knows. When all of sudden you approach to a new perspective, you abandon yourself and then you can see again… It’s a whole world.
How much there is that we don’t see, that we can’t simply see?
 
 
(Learn…)
Courses…
 
I was little. Eight years… I felt in love with a camera on a trip. Back then I couldn’t have it. And I think that impossibility was the best thing that could happen to me. From that moment I spent my time imagining what kind of pictures would I do if I had that machine with me…
I fantasied.
So by the time I could buy it –because yes! I came back for that same camera when I finished some job–, I already had in mind a whole bunch of images.
My own style. The vision emerged like that, by the edge, and in a very specific way.
 

 

 
Eloquent.
Vision from whom, freely, takes, even within the framework of a specific task, what really matters. The quantity as a submitted measure to the quality of the election…
From that, – virtue. Another interesting issue.
(Anyways, there will be always some idiot who will claim that he doesn’t see andenes, nor the mountains in this Colca exhibition, yielding to his limited understanding…)
 
 
Value of different…
 
Once I was twenty, experimenting –back then I stood wake all night, trying, testing–, I achieved an important photography for me. When I saw it on paper, the only word that hinted to me for describe somehow what I accomplished with it, what I approached was mystery…
 
 
Tempting a language for that matter…
 
The opportunity of giving another step… There are artists that do so.
Do you remember when we saw the photographs from Musuk Nolte? What a tremendous thing! One can just leave… transformed…
Windows, doors. They are that. Those pictures…, big ones.
Through the look of the other, that inquires you, that confronts you to deep issues, those that we avoid often, can make you cross to another level, it opens. For example, if we are talking about a canvas, we penetrate in it, and it shakes us, it breaks us – we are talking about the conscience –, and we get out of it, come back to reality, far from the canvas, transformed. That’s what it’s all about.
 
(Arim moves his hands, draws up pentagrams, moved – fingers like elastic limbs that tears the space up and offers his memories on each image, closer, alive through the voice, like inviting to pour the own questions over the flesh o his chest, before the pictures, would seem, that he is capable to see right there…)
 
 
The torment, you said… Interesting…
Yes, who finds himself, stops questioning. It’s himself, he rises.
The process, step by step… And the sudden possibility to open themselves to another level.
 
The exhibition goes for that matter… Knowledge…
 
I consider, in fact, that art comes from some place else. That it’s from another world, somewhere wide, where it’s possible to look completely and through. It reveals.
Those doors, those windows that some artists are capable to open, they really open to another sphere, which we can access because of our sensibility, beyond logic.
Man has always known.
 
 
You propose a look beside the time, reminding how much other cultures got to see centuries ago. Contemporary knowledge, confirmed by science, that it’s being very formal on establishing dates, discovery by discovery…
 
It doesn’t stop surprising me. It’s the same… And you can see: it’s set out over and over again that, in fact, there’s more. Which gives a great value to our questions.
We offer our own glance, which assemble hard, rough and painful enigmas. Each one…
I haven’t realized yet the most intimate images.
I feel it like a pending matter. It’s not easy.
And I must keep traveling…
 
 
There are those who think that photography consists of capturing the moment. That everything is in this sort of being alert…

 


But how is it possible that inventivenesscould be part of other art, but photography… If the symbols we create emerge from reality, but go beyond these. If the point of view we use to interpretand the range of the question itself, in fact, they all come from intuition, maybe somewhere else.


 


And it realizes in the boundary… The dialog completes itself.

 

 
Conscience’s transformation…
 
 
The arch reaches both sides of the limit (we find here the substance which tends, provokes, communication: shape, color, volume, vibration, dynamic, sign, word…). Inside and out the work, these measures become new reference, absorbed elements for interpretation. Deep inside, we know well, the issues barely change.
The author’s vision, – through the complete arch – hands over himself in every vision he has. Vocation… All of him…
As Svetlana Alexievich said, respect of who cares: The space that one human being occupies, just one… Because where everything happens is there, really.
 
 
Each one, a single door.
A universe.
 
Where to…
– We keep questioning.
Fertile valley…
 

 

 
(Translation, by Zindy Valencia.)
 
 
 

Leave a Reply

Your email address will not be published. Required fields are marked *