Urizen Freaza

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Valencia, Spain

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I’m interested in destruction and distortion as elements of the creative process. Through the use of destructive techniques, such as cross-development, the optical aberration in Lomo lenses or the burning, pressing or degenerative filtering when using Polaroids, i try to add a wider dimension to the captured pictures, playing with the image perception, trying to transcend from the seen to the felt, in order to transmit that what’s represented goes further than what’s perceived.

For me, portrait is the best photographic genre, as a face is the motif which most referents produce in the viewer. Working on the duality of personality through the use of double exposures and concentrating the weight of the picture in the look, i try to talk about humanity and personal relationships.

I’m also interested in the abstract treatment of the picture, in the process that turns a rational and interpretable object into a set of shapes and colours. Finally, i like to exploit the credibility of photography resulted of its historical use for documenting reality, to create absurd images, unreal and distorted, which try to activate the subconsciousness of the viewer.

Polaroid:

According to Quantum Physics, the Universe is quantified in packages of indissoluble units, small bricks that conform our Reality. And according to this theory, not only matter, but also time is quantified. Therefore, if we perceive our reality as a function of time, and if this one only exists as a succession of moments, then our reality is made out of instants and instantaneity is the only truth. Polaroid photography bursts the barrier between the photographic act and the photographic piece, melting both elements in a single action that lasts less than 30 seconds, turning a moment into something real and tangible. Instant Photography produces unique, a priori non-reproducible works, and allows the tactile, direct manipulation of the photography, to turn it into an experience beyond the simply seen and more referred the perceived thing. The paradoxical combination of those two components: the pure realism of the moment and the capacity to manipulate it is what makes Instant Photography such a powerful format.

Super 8:

The same elements that fascinate me from instant photography are those which hooked me to Super 8. I’m attracted by the possibility of converting reality into a succession of instants captured in tiny frames. A physical possibility that you can touch, destroy, manipulate in the manual meaning of the word.

Moreover, further than the movement and the rhythm, cinema gives you a dimension that photography lacks: the off-universe, everything what’s not there, but still is. The power of this dimension multiplies the possible techniques and the amount of referents that can be activated in the spectator. Projection, the fragility of celluloid and its size make Super 8 something ‘handcrafty’, something totally different to the feeling of video. Super 8 has a keepsake halo, an old ‘out-of-focus’, always appealing to memory. Its own working principle, the retinal persistence, is nothing but an optical form of memory. And this makes Super 8 a powerful tool for treating feelings, for describing what is seen and what can’t be seen at the same time, to talk about what’s inside the picture.

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Following

  1. Kristoffer Borgli
  2. Mattias Wallin
  3. Francesc Gali
  4. Loor Ambient
  5. Jonathan Douglas Duran
  6. Dean Fernando
  7. Ricardo Greene
  8. Rouzbeh Rashidi
  9. Gadis Fitriana
  10. Alex Conrado
  11. L A
  12. Elise Bonato
  13. Tisha
  14. Christophe Bruchansky
  15. Miquel Ballester Salva
  16. Left Hand Rotation
  17. Lucio Arese
  18. defetto

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