Are many ways of traveling. With the body, with the mind. Moving physically or not. To move around thousands of kilometers without traveling, where the body is moving but the mind gets stuck in the starting point. Even is possible to travel without moving. It’s easy, read Herodoto, Marco Polo or Kapuściński. Or just watch a movie.
Here is where the idea of movement turns into a paradox: we move over the world while been quiet. A similar paradox (or other paradox. Similar paradoxes is a paradox) applies to photography: it is necessary a lot of movement to fix an image. Sometimes just closing our eyes is what it takes.
The serie ULTRADISTANCIA starts with a frustrated travel and the imprisonment of that frustration in an inveterate traveller. From there the others ways of travel comes with this statement: we know for a long time that what we see is not what it is, basically because we don’t know what is what it is, we only know what we see. And we call that ‘the world’.
Experimenting with overhead photography, framing and focusing of geometric forms on variable distances turns obvious to search for that shapes and geometries in the surface of the earth. The long Google Earth trips I'm embarked in were directed to track those shapes and forms. Starting from simple curiosity, cultural references (how it looks like from above the xxx airport?), etc. and then meticulously hovering over geographies until something attracts my attention.
When selected those specific geographies (neighborhoods, routes, houses, whole cities or parts of a river, a field, containers in a port, a train station. etc) are captured with different magnitudes to work all the posible frames, reframes and recompositions who better fit the selected format. In the case of this project a landscape format to aloud some horizontal reading of the image. Then I work the photographic aspect playing with color, luminosity, etc The result is distorting our perception of the earth surface. Common landmarks resembles paintings, topography explodes in rare colors.