Project info

Caverna is a project born from the need of clarifying and confronting certain processes of my personal life. I consider the soul of the people has its own voice, and this is the voice that guides us pending every step we take. It is all about an attraction, sometimes unconscious, that tells a lot of who we are. That’s the reason why it is very important to listen to our soul. It’s been a few years since I started taking interest for abandoned places. I think it is wonderful how time imposes and reveals itself in a subtle, every day way. I also find outstanding the way in which Nature –representation of life– little by little, inhabits and takes back the places when it is allowed to exist in freedom.

In the beginning, I had the intention of making photographs built inside the abandoned place which –afterwards- would be the scenario for Caverna. I was seeking to somehow represent situations I was experiencing in that moment. Nevertheless, the photos I got didn’t seemed satisfying to me on an emotional level, which I consider the most important, but only on a visual, aesthetic one. After visiting the abandoned place for several days, and without knowing what I was exactly looking for, nature –life itself– and time offered me the answers. One of those days when I got to the place I found out –inside a room¬– some drafts of my photographs I’ve left there weeks before. The environmental conditions and its exposure to all kinds of nature’s effects had altered the images: inks had vanished and, with them, the representation of my ghosts also vanished. On the surface of one of the photos, product of humidity, a small plant started sprouting. Life emerged from decomposition.

This is how the idea of project Caverna was born. After this finding, I knew photographs –representations– had to be transformed along time until their disappearance. I printed the images in large format on a simple paper. Later, thanks to the help of some of my allies, I hanged the printings on some of the walls of the place where I captured them. The photomural seemed like windows that, by contrasting their monochrome with the colors of the place, offered a space of coexistence between the conscious and the unconscious. Throughout a little more than a year I registered the transformation of photomurals. Every visit –I did alone– became a spot for meditation, confrontation and for a process of psychological internalization by which I achieved to see clearly and consciously while –little by little– photographs and their content went disappearing. The abandoned place had become a cavern, a place for refuge, identification and reencounter. In the end, photographs were practically gone.

I believe art is a depositary for emotions, thoughts and experiences in which content has importance. Shape must be a sincere and natural reflection, close to man and life so it can communicate in an efficient way. Art is a mirror where we can read about who we are: reencounter with ourselves. Thus, Caverna was an experience that helped me giving a face to the invisible to confront it and make it conscious until its vanishing.