The freedom of photography in relation to the world
The method I developed in The World is independent of my will has gone through several phases and technical changes, from 1998 to 2018 - from 35mm, to the medium format in black and white, then colored, and finally in digital format. With the improvements in each of these stages of technical development, I was able to achieve greater precision in the points and lines, and in the control of the different degrees of blur. I realized then that I had at my disposal the necessary technique to elevate photography to another level of freedom in relation to the world.
In abstract photography is independent of representation. Abstract images, literally, represent nothing. The images of The world is independent of my will do not represent events and objects of the world, but exemplify a randomness that would be - in the perspective of Cage and Wittgenstein - constitutive of the world. The independence I envisaged now possible was not in relation to representation, but an independence from the objects of the world. I could represent something without the need of using photography as a tool that would portray what is represented.
So I decided to build My Story of Art. I used as a starting point several works of art history, with which I feel a certain emotional connection. I carefully studied these works and planned the lines, points and degree of blur that would be necessary for the recreation of these works. Preserving the original proportion of the pictures, I gradually recreated My Fife Player (by Manet), My Narcissus (by Caravaggio), My Portrait of Sebastián de Morra (by Velázquez), My Portrait Of Innocent X (also by Velázquez ), My Great Wave of Kanagawa (by Hokusai), My Harlequin on a Horse and My Dream of Marie-Thérèse Walter (both by Picasso), My Girl with a Pearl Earring (by Vermeer), My Starry Night (by van Gogh), among others.
In a literal sense, all these images are photographs – pictures made with light. However, the mimetic representational element does not derive from the way the light of objects is projected inside the camera, but from the way a series of actions is performed, for the re-creation of the represented object.