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Photography is our eyes. The act of seeing awards to our look the power to generate ideas that we convert into images. The photographic look is a creative look, because it expresses in images the light that the eyes translate.

When we look, we frame the space, as when we pay attention in the eyes of a face or the sun in a sunset. We focus and take out of focus spaces in the same plane. Look is impulsive and selective. It moves with no direction, it stumbles, taking vague snaps, exploring without a rest, almost seizing the milky way of the infernal beauty of Baudelaire.

In some way rootless is adrift: an uncertain and patient search, a journey to nowhere but to our inward, because the adrift is like a backpack that we use to explore the unknown. A trip with a productive final that confront us to ourselves.

Photography is us. We shoot pictures with pantheist spirit of our little big own world. The resulting image embraces the dream that we are. We are the mimetic creatures of our photographies.

Transgress is a factor that we can perfectlyassociate to rootless and adrift. Far differentfrom the shipwrecked with flippers

(an unnecessary bartleby without memories to write), to be an explorer without compass means the risk of the fragile, and also the licenses of the reckless: the diversity of events guarantees crossroads with no limits, where we react specially with our innate resources. The instinct of survival and the yearning for progressive advance invite to the laboratory’s alchemy that ix the different with the known, coming out into a mixed of surprising essences.

Photography is transgression. Does literary photography exist? Written photography, painted, drawed, spined, musical, or any other language that we could put together: the senses translate the languages and reach their new expression. The collage effect transported to the territory of the languages offers new perceptions of the finished work.

Did someone say that the photography is realistic? Its rationale is to reinterpret, transform, recreate, distort, remove, rethink, regenerate..

..bringing what is seen to life. And what obtain life causes emotions.

Photography is contradiction. It is the

encounter, the spark that ignites energy, the explosion of the water in the rock creates the foam; they are the knots and the ponytails. To photograph the daily like Nicholas Nixon in the documentary series The Brown sisters, it goes beyond the familiar and turns us into voyeurs of the effects of the impact of time: what you see is ephemeral and what you don’t see is eternal.

Photography is visible and invisible. Photography reflects what you see and what you don’t see. Like a cocktail that is define for the ingredient not present. It is the confrontation of what we are and wish against what we aspire to; it is the recognition of your own, the hope instead the fear, the wish instead of the adrift. The look establish spatial relations that, being real, emerge from our thought, creating random links between distant parts in any dimension, like time or space. The visible and the invisible coexist in the time that leaks everything. That is because there is no contradiction without time, neither transgression, neither, adrift, neither rootless. Not even photography.

Madrid, September 2010