AJUAR (FLORES PARA UN INCIO Y FINAL)
Fotografía
Díptico 95 x 260 cm.
2017
A partir de dos fotografías anónimas y raras de los años treinta –sin duda realizadas por la implicación personal que los autores tendrían con esas flores- construyo un díptico sobre la vida y su evanescencia, sobre la aceptación de la muerte y la leve huella que deja a su paso. Los ramos en la cultura occidental están cargados de ambivalencia, de connotaciones alegres y también elegíacas: celebran la llegada a la vida y sirven, a la vez, para marcar su final. La flor que comienza a marchitarse apenas es cortada es, al igual que la fotografía en sí misma, un signo de la brevedad, de la fragilidad de la vida y los recuerdos.
TROUSSEAU (Flowers for an initiation and ending) / Photograph_Diptych 37,4 x 102,4 in_2017
From two anonymous and strange photographs from the 30s –doubtlessly taken by the personal implication that the authors must have had with that flowers– I built a diptych about life and evanescence, about the acceptance of death and the slight trace that it leaves behind. In the occidental culture, the bouquets are full of ambiguity, cheerful and also elegiac connotations: they celebrate life when it arrives, and they are used at the same time to mark its end. The photograph is a symbol of shortness, life’s fragility, and memories.
TROUSSEAU (Flowers for an initiation and ending) / Photograph_Diptych 37,4 x 102,4 in_2017
From two anonymous and strange photographs from the 30s –doubtlessly taken by the personal implication that the authors must have had with that flowers– I built a diptych about life and evanescence, about the acceptance of death and the slight trace that it leaves behind. In the occidental culture, the bouquets are full of ambiguity, cheerful and also elegiac connotations: they celebrate life when it arrives, and they are used at the same time to mark its end. The photograph is a symbol of shortness, life’s fragility, and memories.