Location: Mexico
Alex Dorfsman
Born in Mexico City in 1977. Lives and works in Mexico City and Berlin.
SOLO EXHIBITIONS
2011 This mountain collapsed and became a bridge, Museo de Arte de Sonora, Mexico.
2010 This mountain collapsed and became a bridge, Centro de la Imagen del
Centro Nacional de las Artes, Mexico City.
2007 It’s Almost Real, Isn’t It?, ART&IDEA, New York.
2006 Metropolitan, Sala de Arte Público Sequeiros, Mexico City.
2005 Espacio Disponible, Garash Galería, Mexico City.
2004 It’s almost Real, Isn’t It? Garash Galería, Mexico City.
SELECTED GROUP EXHIBITIONS
2010 XIV Photography Biennial, Centro de la Imagen, Mexico City.
2009 Petit Mal, Museo de Arte Contemporáneo (MUAC) UNAM, Mexico City.
Imagined Constructuions, Mexican Cultural Institute, Washington, D.C.
2008 Animal Roto, Museo de Arte Moderno, Mexico City. ABCDF: Portraits of Mexico City ,State Museum of Modern Art of the Russian Academy of Arts, Moscow, Russia.
Schein, Galerie Birgit Ostermeier, Berlin, Germany. Citámbulos, Stadtwandeln in Mexico City, DAZ Deutsches Architektur Zentrum, Berlin, Germany.
Über Zeichen unterzeichnen, Arttransponder, Berlin, Germany.
2007 Das phantastische Geheimnis des exotischen Universums, Galerie Birgit Ostermeier, Berlin, Germany. A Media Asta, Haydeé Rovirosa Gallery, New York. India Shots, Allgirls Gallerie, Berlin, Germany.
2006 Próximamente, Museo de Arte Carrillo Gil, Mexico City. NTSC/MX/PAL: Mexican Video Art at Photoespaña, Madrid, Spain. Colectiva Arte Contemporáneo, Museo de Arte de Singapur, Singapur. Samsung-Raemian Cultural Center, Seúl, Corea. Sede Consular, Hong Kong, China. ABCDF: Portraits of Mexico City ,Queens Museum of Art, New York.
2005 América Tropical, Centro Cultural de México, Paris, France. Paisaje Artificial, Casa del Lago Juan José Arreola, Mexico City. Come Closer, Künstlerhaus Bethanien, Berlin, Germany. The RCCA Spring Animal Show, Park Circus, Glasgow, United Kingdom.
2004 XI Photography Biennial, Centro de la Imagen, Mexico City. Hecho en México, Videoarte Contemporáneo Mexicano, Universidad Arcis, Santiago, Chile. Bandit-mages, 4th European and International Convention of Video Art, Bourges, France.
MISCELLANEOUS
2002/04 Co editor of La Panadería 1994-2002 (Mexico City, Turner, 2004) 2001/02 Assistant curator, Museo de Arte Carrillo Gil, Mexico City.
EDUCATION
1996-2002 Centro Nacional de las Artes, Mexico City, Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda,” Bachelor in Fine Arts.
SCHOLARSCHIPS and PRIZES
2011 Latinamerican Photography Award Purificación García
2007-2008 Programa de Fomento a Proyectos y Coinversiones Culturales del
FONCA, Mexico.
2005-2006 Programa Jóvenes Creadores del FONCA, Mexico.
PUBLICATIONS
2008 Natural Selection (Mexico City, Editorial RM)
2006 It’s almost real, isn’t it? (Mexico City, Editorial Diamantina)
WEB PAGE: www.alexdorfsman.com
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
The fantastical constructs of dioramas, theme parks, and science fiction films, among others, make a good case for how easy it is for us to accept credible substitutions of reality. In a similar vein, advertising images, either in large-scale format or as audiovisual sequences, feed our imaginations with fictitious constructs of artificial realities. Our perception and acceptance of these constructs may well be involuntary, but it is undoubtedly effective.
An awareness of the advertising images that surround us has become the focus of my photographic inquiries. I have found that it's my will to closely observe these street tableaux that generates the layering of images, artificial and real, which support my visual discourse.
The structures that support the fictitious worlds created by these advertising images, their architectural insertions, give them a meaning well beyond their original, banal promotional purposes. A complex, richly layered dimensionality disrupts the fictional advertising contexts, creating a new, much more interesting reality of intersecting constructs; a veritable fusion of two- and three-dimensional planes.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
This series is a performative practice documented by the camera, which gives prime importance to the forms created. It is also an opportunity to reflect about form in photography and an attempt to rescue its poetic function. The result of this series could also be seen as a sculpture made subject to the whimsical and unique forms generated by the wind.
This work shows the interplay of two opposing elements, one artificial and one natural, creating a new landscape and a different way of approaching to the contemplative experience.
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Superficie”
“Plastic”
“Plastic”
“Plastic”
“Plastic”
“Plastic”
“Plastic”
