Open key: A dialogue with Fred Drouin

With: Juan Pablo Torres Muñiz

  

Components. And a whole that goes beyond. The final image takes shape thanks to a process that goes behind the hours, as well as the distance that separates us. Happily, Fred’s voice is strong and clear.
Within each picture, we say, materials and references come in, with the light or, rather, the lights of the one who proposes the vision.
 
 

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Like a broken mirror: A dialogue with Clara Conlan

With: Juan Pablo Torres Muñiz
 
The final image, the work of art, forge of light. Indeed, the artisanal work consists fundamentally in the manipulation of this. Art makes its way from the experience of such manipulation, and goes further. It compromises, incidentally, although in a particularly significant way, the darkness, and how much will remain so, in the mystery.
Clara Conlan knows this well. Her work says a lot about it.
 
 

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On the other side, the light: Dialogue with Ricardo Cordova

With: Juan Pablo Torres Muñiz
 
(The building is from 1901. The repaired walls, excellent, we go in enchanted. The afternoon is the moment, Ricardo, a sea of cordiality…)
 
Even inside, the key remains: an insinuation of the light itself through the windows. As if they always gave us the place, preserve knowledge with the exchange of positions. The communication, in a silent key.
The question in the pictures has a clear structure, it corresponds to the formula of a language, in this particular case, of sufficient eloquence; any possible response –a claim that does not belong to us– remains beyond, on the other side of the threshold. The passage through corresponds to everyone, in a solitary dream.
The important thing is the way…
 
 

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Dreams of city and reality: About the proposal of Jeremy Mann

By: Juan Pablo Torres Muñiz

 

Relating roads, destinations that are figurative at least, experiences, travel experiences  also through readings. In contrast to the images, these notes emerge:
Endings, and principles…
Thomas Wolfe’s greatest novel, Of Time and the River, concludes in a scene that matches in surprising measure with another, corresponding on the other hand to the beginning of the equally remarkable, immense, Call it Sleep, by Henry Roth. The return in one case, the first arrival, in the other. Firm land with the vastness of the ocean, a new opportunity, always. Suddenly (matters of light and rumors) we are also in a scene (or a shot, perhaps, by the grace of the periscope) of John Dos Passos…
 
 

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Contact: About Neil Craver’s proposal

By: Luisa Deguile

  

Temptation of touch. As often happens, under the illusion that other forces are what lead us beyond our own will…
Thus, curiosity, hunger that could well explain the furtive way of capturing, paints a different force, one as determined by Physics: yes, emerging from emptiness. In such a way that our side, that of the spectator, I say, is offered promptly to the particular character and circumstances of each one. To fill the emptiness.
The position is granted to us at the very edge of the shadow from which we stalk.
In any case, safe: are the ones who are naked.
But Neil Craver makes us participants of something else…
 
 

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