He wasn’t sure what the purpose of this building was. It could have once been a store as the lamp hanging over the façade suggested. But the rest didn’t quite fit the criteria: a workshop unit perhaps? It was this indeterminacy that attracted his attention, the fact that it didn’t quite fit any purpose or definition. With time, the structure has been modified. It has cracked, lost its homogeneity and eventually its sense of determination. The red-painted opening in the wall intrigued him for it seemed illogical. What could have been the reason for such alteration?


I enjoy the image at the level of the descriptive. I look at traces of modifications made over time: at the strange red opening that does not seem to serve any purpose; at the layers of paint; the crack on the wood shutter; the bars on the window; the old fashion front-store light fixture; the pipes coming out of the wall; the fresh layer of tarmac that contrasts with the rest of the pavement where small vegetation found its way through, the enigmatic evangelic graffito ‘PPP’. There is an accumulation of minor elements, heterogeneous details, oddities that add or even contrast to the overall insignificant character of the building.

But somehow, the image takes me somewhere else. It escapes the determinations I try to assign to it. There is a dimension that abstracts itself, that takes me away from its utilitarian reality, or even virtual potentiality. This has to do with time, which subsequently acts on space.

The image is not outside time. On the contrary, it takes place within a moment, but not a moment determined by clock time.

The image constantly escapes. If I enter through the door, I will come out from the opening in the wall, or the cracks. The more time passes the more this place is becoming porous, ungraspable and insignificant.

Another abstraction takes me further into another plane through those shadows that slash the building’s façade. The building carries a multitude of marks that signify its fragmented pasts, projected desires, trading ideas, modifications and plans that have occurred throughout its existence.

This image makes me access the city on another level. What this image adds is not exactly abstraction but a certain degree of power and intensity. And it is through that intensity that I enter a becoming with the city. Or it is because this place is undetermined, that I place myself within becoming?

In this image I become more and more plural. The photographer has withdrawn. The subject is dislocated within the time of the event. This takes place through photography, as it disconnects time from its chronological order. One always arrives in the image, imaginatively ‘too-late’ or ‘too-early’.

A sense of individuation is taking place. The image becomes flexible. My experience of it as a subject is displaced, broken, or modulated. The lack of information has pushed me to think forward, to bring the image to the level of becoming.


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