A photo essay on blindness — In 2009 I started this artistic project (no end date) with the aim of reflecting on the photographic medium, its limits and the possibility of transgressing them. The excess of images, together with the sensory arrogance of the visual in relation to the rest of the senses, triggered in me a need to return the essence and relevance to this sense, through its non-use and through a process of photographic experimentation, an apparently exclusive to sight art. So, starting from the paradox implicit in the concept of blind photography, I began to investigate in the first person what it meant and entailed. I began a photographic essay on the visual and the invisible, the mental image and the real image and, in short, the known and the unknown. However, I also needed to sublimate something terrible, my eternal fear of the dark, by creating photographic poetics of my own.
Blackout
Blackout
Modus operandi _ I blindfolded myself to prevent me from seeing. I immersed myself in darkness, forcing me to sharpen the rest of my senses. Someone I trust guides me through space, usually through routes I don’t know. I photograph everything I feel that is susceptible to being photographed, what I believe and feel I see, when in reality, I see absolutely nothing. Sometimes I come across people who, seeing me photographing blindfolded, cannot believe their eyes. It creates a kind of spontaneous performance. I develop the reels and find a reality never seen before by me.
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In 2009 I started this artistic project (no end date) with the aim of reflecting on the photographic medium, its limits and the possibility of transgressing them. The excess of images, together with the sensory arrogance of the visual in relation to the rest of the senses, triggered in me a need to return the essence and relevance to this sense, through its non-use and through a process of photographic experimentation, an apparently exclusive to sight art. So, starting from the paradox implicit in the concept of blind photography, I began to investigate in the first person what it meant and entailed. I began a photographic essay on the visual and the invisible, the mental image and the real image and, in short, the known and the unknown. However, I also needed to sublimate something terrible, my eternal fear of the dark, by creating photographic poetics of my own.