The reverse of the shadows: A dialogue with Judith in den Bosch

With: Juan Pablo Torres Muñiz
 
Instead of just a dark atmosphere, it’s the lighted one that surrounds us between the artwork… different. Would it be, perhaps, the reverse of the reality that we usually recognize during our daily bases? On it’s own way, maybe lit up. An atmosphere of specters, not of absent bodies, but of shadows that we have in front of us; therefor, projections, of a different level…
Here’s Judith’s proposal…
She comes along with us. Goes and observe around, like paying attention to the stimulus that are provoked by the scenery…
 
 

Determining features.
The vague definition of the images is part of the signature; it sows curiosity. On the other hand, it distinguish itself in labor, a violent intervention, directed to revel on a most discreet way possible her particular vision: that which is generally hidden. The transformation develops far from subtle games with various techniques over the natural textures. The debt with the camera stays drastically reduced…

I do everything with my cellphone…
My first pictures were “normal”. Yes, from the sky and the way that light acted in nature. Then I realize: I could show my feelings and emotions on the edition. And that, as simple as it looks, took me by surprise…
Everything that I carried inside me… started to come out…

 

 

After (two years before), I got diagnose of breast cancer… During the following period I did a work per day.

 

 

There are many dark figures, they are mostly expressions of catharsis: sceneries and certain situations given to identification, just reflections of a supposed condition or an certain transit; therefor, abstractions from reality, kind of false confirmations of some wanted certainty, at least about the fatal diagnose. Something to hold on… Just denials.
Denial comes from fear. The only way to overcome is digging into it through an affirmation, an honest one… Noticed that what we fear is the unknown and the uncertainty, our affirmation will part from some attentive recognition of the reality and will be directed to question…
 
 
Loneliness… fear… Everything started to come out. Very dark emotions.
But yes, the light is always in my work. The alternation between light and darkness…
I dedicated myself to capture images of many people that walked alone. On the other hand, during sometime, my pictures were more like paintings, because of the kind of intervention.

Just reflections. Distortion took its place, of course, in you; in your vision, your proposal: refraction…

I was really myself in that moment. And it went like that: it was kind of a therapy…
It helps me a lot to have that kind of expression.
Then it surprised me that people really liked what I did…
 
 
I like to think in my pictures as little poems. There is history on them.

But there’s not a narrative; instead of the time flowing, o just the time being stopped, a stamp, the image incarnate a breach, with the possibility of a transversal experience: communication through the image, with it as a portal and start point, away from the clock. It’s about, anyway, simple compositions; the point is in her allusive capacity.
 
 
I am not technical at all. I am a photographer… an emotional one. All of sudden I want to get something in the color, with it and with lines.
On the other hand, I am not, lets say, a woman of happy pictures… I don’t like, neither, happy music… My work is in Nick Cave’s music line, for example.

Amazement has multiple motives. It wins over us. It consists on a kind of defeat, which we learn of. Happiness, on the other hand, is understood in general as a status of confirmation, therefor, it limits the amazement…
The issue goes even further. One is not happy anymore in the moment that he thinks he recognizes himself on such status: the peak with he relates to, of course, don’t resist corsets, nevertheless some “terms” (as definitions, as limits).
Amazement implies acceptance. In this, the possibility of an authentic peak…
 
 
The shape…

On my work you can see lines very often, people in strange angles. Shadows and light. All the time.
I still do everything with my cellphone, even editing. I see what I have really reached when I send it to myself by email.

 

In the beginning I only did black and whites, because I liked it. But I started to get more interested in painting.
Actually I use more colors to express myself…, my humor. But I did it all without thinking: I started with black and white and all of sudden I got the certainty that I had to do red…
Now I am on a blue period. And I have found new colors.
I never have a precise idea on my mind when I start a new work. It starts to get shape while editing.
I love to surprise myself.

There is certain recurrence…

Many lonely people… and the sea, its my muse.
The sea is very important to me.

 
Now I am much better. Free from cancer, although I do various check up…

Changes… Also in the vision. The perspective. The same object in the photography, which requires, of course, a new approach, in the moment of takings as editing.
Beside the treatment of lights and, of course, the color, we can see the prism that multiplies its sides…

When I started, I used myself as protagonist of my pictures. The, there were those who offered modeling.
Once again, I am not a models photographer; I do it on my way. Some occasions, in something very abstract. Well, an they know that no one could ever see who is it about.
 
 
Characters…

For me, it’s important the line in which the model stops, how they represent a new way of watching things. And the possibility that they offer to me, also, of watching something else…
In the editing process, as I said before, everything can happen.

 
I am open to what I feel at that moment.
For me, editing it’s like meditation. And when I feel vertigo, a wow!, then I’m happy… and I feel like I want to show my new creature to everyone…

 

 

I think that in every capture of some other person… I am there too. But not in the original picture…, but the edited one.

Someone itself, his own vision…, that also questions…




(Translation by Zindy Valencia)



 

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