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Ikarus meant for me the finding of the limit itself of photography. The composition is so extreme that it touches the threshold of the non-photographic.

The fall of the Ikarus meant also the fall of the vision as an hegemonic sense, and reminded me of the Brueghel painting, where Ikarus is drowning but nobody is looking anymore. What I mean by this s that the next step is just the definite hors cadre. But we are not there yet, we are still falling. 

The architectural site speaks again about a sort of fallen angel. It is the Cathedral of Justo, an ordinary men that built by himself a cathedral in the outskirts of Madrid. I was terribly moved by what people describe as devotion, but to me was a representation of irrational passion, obsessive desire.

The two together make a perfect metaphor for the fall of every preconceived assumption.


Ikarus supone, en mi investigación, el límite máximo, la aproximación más cercana al final de la fotografia, el acercamiento más límite a la no-fotografía. Es el diedro de Oteiza por el cual, posiblemente, debería haber abandonado la fotografía.

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