During the last years I’ve been exploring the limits of photography trying to reveal what we can`t see. I’ve been playing with many kinds of photosensitive materials and artifacts to hunt images. Inevitably I found myself exploring the unknown, arriving even farther than what photography could bring me. I’ve inhabited those unknown spaces to understand them, and to reflect about how humans can inhabit the most remote spaces. Finally I created rituals to share them, generating a new social and communal experience in which each part is active and crucial.
I strongly think my work deals with the experience of magic, being magic understood as everything that human inventiveness couldn’t solved yet and that only imagination can represent. A game of illusions in which the spectator is an inventor incited to action and creation. My first works were based on the construction of enormous cameras obscures made with the materials from the same environment. Amongst these works it’s to be emphasized: The “Ice Observatory”, a camera obscure made
inside an igloo and built at more than 2000 meters high with an ice lens graduated with the warm of the hands; or Black Ceramics, a series of ceramic pinhole cameras made with clay from the river that will take the picture of.
The use of food in my work it’s relatively new. I use it as an strategy of social gathering and at the same time as a catalyst of a series of extra sensitive experiences. The banquets and ceremonies are an universal representation of daily life customs where the spectator come absolutely open to the experience. That is the reason to introduce the art work inside that and therefore generating a dynamic and active reading of it. It is not only being part of the work, is the action of eat it.
The “Fosfofagias” are ceremonies in an intriguing and dark space with fluorescent drink and food. Somehow we could say it is a blind space where eat light. A collective celebration where senses become affected by the absence of light, canceling almost completely the sight to maximize taste, touch and smell. Furthermore, the spectator is invited to eat the artistic piece, so his body becomes the medium where the picture is generated. The ingested light will be eject from the body causing fluorescence in the organic waste: faeces, urine, sweat, saliva or tears. The piece is eaten, and once consumed it stays in the memory, leaving only residue to bear witness to what has happened there.
*You can read Alfonso’s report here