the photo of the superior part corresponds to scenes without arquitectonic presence.
the bottom image correspond with scenes with architectures. CLICK IN THE IMAGES TO
ACCEDE TO THE CORRESPONDING SERIES on the right you have a text in which I
explain in detail all the theoretical- practice implications of this work, through the relations
between the derivatives of the Indo-European root *TEKS, that it gives title to the serie.
TEKS* : (etimological Indo-European root.) to weave,
[sankrist .taksati: "he makes" ,taksan "builder" , avestico
.tasan-,persian tas :
" to build" ; old Irish. tal. "axe" ,old high german. desha ,
lithuanian tasau: "to carve" , latvia .tesu, old slavonic. eel. tesq,
Czech. tes : "carpenter" , het. taks-: "to join"]
Greek : TEKTON : carpenter, builder.
TECTONICS : belonging to building construction; belonging to
Architect: (gr. arkho : to order ) " the one who manages a
Greek : THEKHNE : art, skill.
TEXTURE : the manner the threads or the fibres of a fabric are
The mannner of being combined or joined together the parts, the
particles or elements of one thing.
TEXT: set of statements that composes a written document.
Etymological loan ( Sixteenth century) from latin textum "textile" ,
from where "text" by analogy with the construction of the
CONTEXT: neccesary set of circunstances that surrounds a
situation in order to be able to understand it correctly. From latin
contextus "connection", "linking" specially applied to the
discourse, from texere to weave
Since 2001 I work taking photographs of models, sceneries, made of pigments, rocks, wood
water, and other elements. I call this project TEKS*.
In my project, the text refers to a diffused reality, a bordering territory between reality and fiction.
An eccentric territory inside and outside pictorial matter, photographic and infographic, a proposal
of an area of the phantasmatic representation, close to cinema.
The experimental investigation of photography " like a prosthesis to increase the power of our
eyes, in a process of acceleration that suppresses our knowledge of distancies and dimensions."
The central core or theme of my project is the ruin, gradual status of disintegration of a system.
That is called entropy: entropy in physical and geological terms but also cultural.
The main strategy is to imitate on scale the geological processes of nature: erosion,
disintegration, sedimentation etc. The result is a magmatical pictorial surface, full of shades and
contrast. A surface that sometimes could be compared with the informalist-matericals like these of
Barceló, tapies, Genovés...
The art, I try to carry on, not only imitates nature but also try to reproduce a certain effect,
particularly, of rupture with daily life, destabilization, estrangement, that takes out the usual space
notion and objects
"Walter Benjamin described the capacity of the camera, the technical eye, as "unconscious optic",
If the quality of the unconscious optic is to capture the multiplicity, the infinite detail, the lack of
time or elements out of our usual visual perception, it can be used and changed its
hyper-perceptive quality like I do: using it more as a bridge between reference and image than for
its nature of mark and document. In the mediation process between reference and image, the trick
or fiction appears.That mediation is disturbed. For this reason, the indicial quality of the picture
changes. It offers a game of tricks that we accept bearing in mind we usually rely on the
photographic media as it was a true evidence of the surroundings.
the random but controlled combination of the painting matter gives rise to a special texture of my investigation process. If
I try to reach a sense of organization in the image, obviously, I will use and modify natural materials so they give the best
result in terms of iconicity.
The materials that compose the models are: wood, zinc oxide, white cement and oxide mineral of iron (oligisto).
The main strategy is to imitate on scale the geological processes of nature: erosion ( erosion process of oligisto),
sedimentation (sedimentation of the white zinc in the small holes of oligisto rocks). This sedimentation is produced by the
water flood from the scale so that the pigments fill the remaining holes of the oligisto rocks.
The result is magmatical pictorial surface, full of shades and contrast. A surface that sometimes could be compared with
the informalist-matericals like these of Barceló, tapies, Genovés...
Without doubt, the result of my artistic project is iconical. However, this iconicism, close both to the materical abstraction
and the informalism, is the result of the treatment of the surface. So, the consequential text allows diffrent possible
interpretations that conforma hybrid structure. The iconicism of the painting, I mean its effect of obejctivity, depends on
the coincident techniques with a great range of abstraction, gathering in the same pictorial text the depth of the painting
( mimetic space) and the surface of the painting ( space of pictorial-materical). This assembly of both lines of the
painting is fused by means of photographical technique: hybridization of painting, sculpture and photography.
At this point, it´s possible to say that my proyect and the development of the artistic discourse of photography are really
bound to the critic program of representation set by the vanguards. In my proyect, the text reffers to a difused reality, a
bordering territory between reality and fiction. An eccentric territory inside and outside pictorial matter, photographic and
infographic, a proposal of an area of the phantasmatic representation, close to cinema.
The art, I try to carry on, not only imitates nature but also try to reproduce a certain effect, particulary, of rupture with
dayly life, destabilization, estrangement, that takes out the usual space notion and objects. There´s no continuity
between the space of photogrphy and the space of the spectator.
The intertextual refferences that can be seen in my project point to authors like Casebere, VaJlhonrat, Simonds, OLiver
It is worth to point out that the word tectonic reffers both to biulding construction and earth´s crust.
The earth´s crust and the building construction are the core elements of my plastic investigation
The constructions of my project and the desolated atmosphere that surrounds them are in a kind
of temporal and narration hanging up. It seems the time would have stopped and human activity
would have disappeared. Dehumanized spaces where it is not known
by certain what has happened before reaching this state of disintegration, or, reintegration in the
Like Smithson, I travel and make a parenthesis in history stopping at the ruins. The poetics of the
ruins, of large tradition, are the expression of time suspension, a wounded architecture.
Instead of beauty categories or the sublime that affects the subjective perspective of the
landscape, Smithson proposes the joining, the rehabiltation of the idea of the pictorial matter.
Attraction for the rough, rude and irregular shape of the earth, as well as for the accidents that
With my approach to nature, I look for what seems artistic just because it escapes from the
regularity of the natural laws.
It´s known that whatever break the law, the formal unity and keep closer to nature (aesthetics of
the picturesque) is well received in art.
My landscapes also takes part in some sort of aesthetic of the sublime since the shadow of the
immense is present: large desert spaces where we can observe the time suspension but always
seen from the secure distance of representation, of aesthetics.
As an artist for whom nature is the main source of his work, I am acting like witness of a
devastating entropy provoked by the imbalances among ecosystems due to human
industrialization. Moreover, I make an absolute criticism about nowadays capitalism production
CONTEXT ( DISCONTEXTUALIZATION )
The discontextualizationIf is some way the key point in the setting of the scale and the final result of
the picture. Discontextualization of the pigments by means of the photographic framework. Using
this process, a smal piece of sensible pigmentary matter appears infront of our eyes a kilometric
space. It is impossible to meassure the size of the scale once photographed. Moreover, this is
provoked by the presentation of the picture, 1m x 50cm, so the space sense is more evident and
"Walter Benjamin described the capacity of the camera, the technical eye, "unconscious optic", in
order to learn in his unconsciousness what is conscious for the eye, educated on the control of
representation, results incomprehensible: the same register of the difference, the event. This is
what the unconscious optic reveals: on one hand, the presence of the difference during the
absorption of the detail, in the unlimited explosion of th fragment, in the capture of the multiplicity.
On the other hand, the instantaniety of the event, the incomprehensible brevity of the time-now, the
same insuperable temporality of being -not in vain the same Benjamin reffers to that infinitesimal
jump produced in the descomposition of the movement..(7)
If the quality of the unconscious optic is to capture the multiplicity, the infinite detail, the lack of time
or elements out of our usual visual perception, it can be used and changed its hyper-perceptive
cuality like I do: using it more as a bridge between reference and image than for its nature of mark
and document. In the mediation process between reference and image, the trick or fiction appears.
That mediation is disturbed. For this reason, the indicial quality of the picture changes. It offers a
game of tricks that we accept bearing in mind we usually rely on the photographic media as it was a
true evidence of the sorroundings.
The same Derida has also persisted in the importance of high technologies in the field of the
diconstruction of visual arts.
" It is not a matter of representing the given reality, but putting on declarative segments that set
doubt on the established order of the representation " (8)
In my pictures, there is some kind of breaking between the space of the picture and the
space of the spectator. The landscapes of the pictures are so large that we cannot know
the real size of the scale. The spectator's perception suffers an interior fight trying to
distinguish the size as
well as the origin of the captured scale. There's a perceptual break, a doubt, a sense of
oddness about what is being observed. The camera, in general, enlarges the space,
lengthens the movement, expands the time, becomes small the bigger and the big smaller
of microscopic size, truns odd the familiar and unrecognizable the usual things.
The spectator is sure that he deals with something real in terms of space and materials.
The main doubt is the procedence of the space.
The alegory about this human fragility and cultural entropy is overwhelming, assumed
from the first moment. These unreal places, where every hope and narration is cut off,
keep their allegorycal intention.Furthermore, everytime I show my work, it is impossible to
avoid the refferences to lanscapes, the Afganistan or Irak devastated buildings...
Unconciously, the spectators make a relation between the images they watch on TV and
Subirats talks about the perfomatization of reality, filtered reality, due to the mass-media.
Consequently, there is nothing we can do but realting my pictures with those taken from
the fighter planes and bombers by the pilots through their laser sights. Pictures of what
they will destroy.
My pictures are seen from the secure distance of representation and aesthetics. Without
feeling in danger because of destruction, this perspective allows us to enjoy the greatness
of the inhospitable. All my pictures are aerial sights of those landscapes and buildings :
double secure distance, one given by the representation an another by the aerial sight
that offers the opprotunity to walk along this desolated space without touching the ground.
AISTHESIS - ANAISTHESIS
This secure space of representation, cinematic space, can be used to forget
or anaesthetize us as the mass-media does. On the contrary, it also can be
used as Walter Benjamin invites, a cognitive potential space and political
consequece of the cutural experience technologilcally meassured. (13)
Bearing in mind this idea, Susan Buck-Morss claims the aesthetic use of new
technologies, as Walter Benjamin does, in order to give back the power of
critic and political reply to the society : briefly, aesthetics versus anaisthesis,
taking aesthtetics in its former sense ( the one Walter Benjamin reffers to); [
Aisthetikos] " all that is suitable of perception by means of sensation",
Aisthesis is the sensorial experience of perception.
Walter Benjamin says that our civilization suffers a status of continous shock
produced by the alienating job in factories and the city life. ( Freud talks
about war shock) Walter Benjamin talked about modern experience in
neurological terms: the enviroment technologically altered exposes the
human sense to continuous physical shocks that provoke mental shocks.
If we call sinesthesic system the one formed by our senses, neurones and
the surrounding world composing the whole, Susan Buck-Morss says "
consequently, the system turns its function. Its goal is to numb the organism,
kill the senses, suppress the memory: so, the cognitive system of
sinaesthesic has turned anaesthesic. The eyes, bombed with fragmentary
impressions, see too mucho and so the do not register anything. In this way,
the simultaniety between "over-stimulation" and numbness is a characteristic
of the new sinaesthesical organization understood like anaesthesic
Linking the ideas of Susan Buck-Morss and Subirats, we will see that the
perfomatization of war by the mass-media and the continous bombed of
fragmentary stimulus of TV about it, provokes a numbness, an anaesthesis of
the senses as well as the critic conscious.
The purpose of the alegories about destruction that I represent in my work,
would like to have the contrary effect of this anaesthesis of consciouness,
suppression of the memory and numbness provoked by the mass-media with its
bombing of images and destrucion stimulus. My purpose would be aesthetic, I
mean, the opening of the senses, the memory, the conscience, that allows the
spectator reconstruct his or her critical consciousness about the cultural,
productive or energenetic systems. These systems, apart from others, make the
destructive entropy present in my work familiar, like recent wars of colonization.
Wars with no other goal than the maintenance of power and developing awful
(12), (13), (14) Susan Buck-Mors. Estética y anestetica, una revisión del ensayo
de Walter Benjamin
sobre la obra de arte. la balsa de la medusa Madrid. 1993
( the english term used by the author is " anaesthetics" which reffers to the
spanish sustantive "anestesica". She plays with the ethimolgy of the word, from
the greek anaisthesia, lack of perception of the senses.
David Elgea . 2004