self portrait carlos perez lopez

A DECLARATION OF INTENTIONS

With 21 years and after becoming aware of myself and, among others, of my most artistic side, unanswered questions took over my free time, and even the captive.

They entangled that emergent and virgin mind of typical and “normal” acquired arrears of our, apparently, inevitably indoctrinated society. As I say … many unanswered questions. Well, because who was around me was not in a position to offer me good answers, or rather because of my little and clumsy skill in the search for these. If I had access to the internet at that time !. The point is that, for reasons of capricious chance and a great friend, photography returned to my life and, as it is said a lot now, he did it to stay. Nothing much less similar to the effect of a camera on the mobile as it happens now. Without underestimating it, each era has its own and I enjoyed mine. In all existence, the years involve continuous learning both voluntary for those who want to learn and adapt to each situation, as well as involuntary, because there are things that are undoubtedly learned … yes or yes.

When I started taking photos, the choice of motive was really intuitive and even visceral. It was what I wanted, without any hidden pretension or particular purpose. In fact, to a large extent, that is still the case, photography as a method of expression and capture of unrepeatable moments in all its greatness. At that time I was exhibiting in the Young Art Network of the Community of Madrid and a good number of people asked me the question: what did you want to express here? My response was almost always similar: nothing in particular what I’m looking for is a visual impact, an image of something or someone that by its characteristics and by taking the photo itself … has an impact and perhaps makes you think.

I became a devourer of images and frames of everything that surrounded me. So much so that today the only way to understand a trip or my presence in a place and enjoy a landscape or environment necessarily passes by photographing it, otherwise for me they would become lost opportunities and each of them a small moment to suffer. It is not that the world falls on me, of course, but the moment would not be complete and enjoyable one hundred percent.

I was always reluctant to give any explanation about the images it generated. I did not even like being asked about the date I made them, or that I did not compute well in some heads the one that did not give them a title. And nothing to say about when they asked me what camera I took them with. My opinion was clear and based on the crushed phrase “A picture is worth a thousand words”, to which I added the vindication of the timelessness of the visual impact. With regard to the camera, I will only say that in the whole history of painting, the work of a painter has never been judged on the quality of the brushes he uses, except for his brand or provenance. You can see that fetishism did not work well with paintbrushes or oils, but friend … with the cameras is something else. It becomes coarse, and the worst thing is that they really confuse the churras with the merinas. I have met more camera collectors with their mouth full of brands and references to all kinds of “cachibache” than true photographers who know how to use them and who do not necessarily have to be “famous”.

Over the years, in a meeting I had with the marketing director of a well-known Spanish construction company, to whom I was directing my services, something happened that caught my attention. Come into the room this man with that tight presence and attitude of “you are making me lose my precious time” and, that if, with great education, brings me two books. One was the annual results of the company full, of course, of numbers and balance sheets and the other that of the history and future plans of the same, with illustrations and photographs of their major projects. His way of offering them impressed me a lot: “Here you have the book of ACCOUNTS and here that of the TALES”. That made me understand something that somehow I already knew, but that I always had a hard time recognizing. It is no longer the thought that counting or not telling something about the photographs I make makes them more understood or more attractive, but the fact of not doing so will undoubtedly make many people get absolutely nothing. And also … attractive for whom? and understood by whom? Within the same world of photographers there are multiple ways of looking. From the most technical to the most artistic. And I’m not going to talk about cerebral laterality, about the different states of consciousness or just who peers better or worse at the contents of what you see in front of you. We each have our things, on the other hand … normal.

Undoubtedly all this made me feel the need to write notes based on the images I took. Maybe it’s to finally tell what I wanted to express with some in particular, but surely the thing will be more about what I felt when I did them and why I did them. What attracted me, what I saw, what crossed my mind, what anecdote happened at that moment, etc … A good excuse in addition to delve into thoughts and ideas with more or less importance that I always found interesting. It bothers me that my person is going to be reflected in all this, but I do not care, I do not think that is the most relevant part of the process … or is it?

 

Self-portrait San Juan of Puerto Rico. June 2014.

 

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