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The fold works photography as a sculptural element. It looks for its three-dimensional limit working with little operations in its surface, molding its emulsion.

After the experiments in composition and light, surface seemed the next logical step to investigate and maybe propose other approaches to photography.

At a time of digital over-saturation, of the world-screen, I was interested in finding a body for photography and imposing the sense of touch on a discipline historically tied to the sense of sight and distance.

It appeals to the sense of touch, which was the theme of my first PhD dissertation proposal that never saw the light. This touch has nothing to do with the so-called haptic vision, its a phenomenological touch, it calls to physically touch the photos to be able to see them, to engage the entire body in vision (this conects with my latests works about performative photography).

These investigations were accompanied by the publication of an article called "Crashing Against the Surface" in the Hipo4 issue of the academic journal Hipo_thesis. ISSN 2340-5147




El pliegue  trabaja la fotografía como un elemento escultórico. Buscando el límite tridimensional, el límite de su superficie.
En las búsqueda de nuevos lenguajes para la fotografía, en este caso su componente de materia es el de mayor relevancia. En un momento de sobre saturación digital, del mundo-pantalla, me interesaba la búsqueda de un cuerpo para la fotografía y de imponer el sentido del tacto sobre una disciplina históricamente atada al sentido de la vista y la distancia.

Estas investigaciones fueron acompañadas por la publicación de un artículo denominado “Estrellarse contra la superficie” en el número Hipo4 de la revista académica Hipo_tesis. ISSN 2340-5147

Captura de pantalla 2015-11-06 a las 18.
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