These images explore the notion of memory and the dialogue between past and present.
Catching a Squirrel
I was invited to be part of an exhibition where seven visual artists in Toronto would respond to poems by Leung Ping Kwan. These three images come from the poem "Catching a Squirrel" (1979), by the memorable Chinese writer.
As part of an exhibition about wildlife in Canada, this series of photographs presents the evidence of the struggle between humans and overflowing nature. The starting point is the minimal portrait of that battle, in all its cruelty.
The House in the House
This project was developed for an exhibition at Spadina Museum in Toronto. The Spadina House was once a private shelter for a Canadian family. In the uninhabited spaces we see the recreation of a daily life, its intimacy and trivial moments. Despite being uninhabited, there are minimal traces of the previous life. The house in the house inserts an alternate story thus unfolding a space within this public space.
Little Red Riding Hood
This series takes the tale of the Brothers Grimm to explore the process of the imagination through a visual proposal based on subjective associations from the reading of the classic story. Other aspects related to the approach to such a widespread text come into play; for example, to overlook elements that are obviously grotesque or perverse due to automated reception.
Eighty portraits make up a polyptic that refers to the coexistence of a group of Mexican and Canadian artists in a program of creative exchange in the city of Mérida, Yucatan. Ten writers and ten photographers gathered in the same city, share an extreme climate and a strong desire for communication hampered by their different languages and cultures.
Three moving cylinders that spin slowly show a couple dancing. The pieces refer to the experience of the senses.
Premières exercises de grammaire
Through the staging of a series of dialogues taken from a textbook to learn French, this series revolves on the possible relationships that can or can not be established between text and image. The various feasible receptions of these photographs with text highlight particularities of each of these forms of signification. The location of the shots in the desert of Cuatro Ciénagas, Coahuila, as well as the inclusion of an additional text foreign to the dialogues, both amplify the absurdity and decontextualization of the mise-en-scène.
This work deals with the referential character of the photographic image from the intentional generation of blind spots, in a metaphorical sense, in clearly presented settings The desert landscape of Cuatro Ciénegas in the north of Mexico, serves as a scenario that enhances the information gap in the built scenes.
Produced in Banff, Canada, this series continues to explore reversed role-playing. Who is commonly the active subject observing is presented as the observed object. The series is divided into three parts, which include the resignification of recognizable icons, the classification of everyday activities and the questioning of reality through the permeability between three-dimensional referents and two-dimensional representations.
As a continuation of the previous work: Animal, in this series man is presented as an object of observation. A dislocated discourse in which the subject-object roles are reversed is exposed through a slideshow in which fourteen images are randomly repeated. This production sets a preamble of the following series: The others.
Through documented actions and a visual discourse, this project explores the boundaries between instinct and reason. In a narrative whose main character is the animal figure, a series of steps are registered. As in a palimpsest, the original coherence of the elements shown is erased in order to imprint a new logic.
This photographic series is the result of an interest in perception and altered states of consciousness. Some of the formal features of this work are the representation of solution of continuity and a sense of time as well as the manipulation of perspective. In some images there is a rupture with the links between the visible and their meanings, in others it is evident our state of transit or ephemeral nature.