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Some time ago I began to explore different shots in which light played a leading role. Its impact on surfaces, volumes, planes, and everything in its range has always amazed me. That influence is also exerted on us, as spectators of and participants in its projection. The concept of light, in turn, is related to that of shade in an extreme and opposite way. Both build space and bring movement to it.

 

The abstraction of elements from the visible world through perfect geometric shapes ‒in the Platonic sense of their divine origin‒ has been part of this exploration process, in an attempt to propose a new view of reality.

 

This body of work draws on Modernism, and its preference for simple geometric shapes, well-defined lines, and a sense of sharpness. At the same time, the need to break with the established and the possibility of transformation, as goals of this movement, are both part of the spirit of my work.

 

Although I often come up with a preliminary idea, in this case I followed a reverse process, as a common thread for the whole series emerged after taking several shots. Sometimes, when going through the images after editing, “we (…) discover things we were not fully aware of when capturing those images,” as photographer Adriana Lestido said. In this respect, and when thinking about the titles of the photos, the idea of fantastic stories came up in conjunction with the notion of geometric abstraction. For a long time, science fiction stories have stirred my curiosity about the existence of other worlds, creating ‒on a subconscious level which seems to have reached a conscious level‒ the need to express that quest through this work.

 

Those stories speak of the existence of ancient astronauts responsible for the construction of the pyramids of Egypt, the monoliths of Easter Island or the geometric figures of Nazca. They go hand in hand with the possibility ‒even today hypothetical‒ that these archaeological remains can only be explained from the contact between our ancestors and beings from other space and time possibly sheltered by geometric structures as precise as intangible.

 

When looking at my images I think of those perfect forms as created by God. We do not know them, although we know that they exist somewhere, either naturally or artificially. They have remained unchanged, waiting to be discovered and become an instrument of cooperation, as a potential language in common with other forms of life.

 

This is a body of work about elements of our reality, which may exist in others.