750 x 1050 mm

650 x 890 mm

SHADED AREA OF SERIGRAPHY ON CANSON RAG PAPER

THIRTY COLLECTIONS, OF TWENTY-TWO PRINTS EACH, SIGNED BY THE AUTHOR FROM 1 TO 30 UPON COMPLETION AND AND DESTRUCTION OF THE SCREENS IN 1992.

TITLES OF THE TWENTY-TWO PRINTS

' • ' : Shown in this website:

• WORK 1001 01 · 01 · NEW VOLCANO

• WORK 1001 02 · 02 · NY YANG

• WORK 1001 03 · 03 · NY YIN

WORK 1002 01 · 04 · DECADA PRODIGIOSA 1

WORK 1002 02 · 05 · DECADA PRODIGIOSA 2

WORK 1002 03 · 06 · DECADA PRODIGIOSA 3

• WORK 1003 00 · 07 · PLAY

• WORK 1004 01 · 08 · BANCA

• WORK 1004 02 · 09 · BINGO!!

• WORK 1005 01 · 10 · MEDIO AMBIENTE

• WORK 1005 02 · 11 · AMBIENTE Y MEDIO

WORK 1006 00 · 12 · BIOSPHERE

WORK 1007 00 · 13 · PRESENCIA

• WORK 1008 00 · 14 · NACIONES UNIDAS

• WORK 1009 00 · 15 · COLATERAL

• WORK 1010 01 · 16 · MATEO/23·5 *

WORK 1010 02 · 17 · MATEO/23·5

• WORK 1011 01 · 18 · FOC

• WORK 1011 02 · 19 · FLAMA

WORK 1012 01 · 20 · MAI

WORK 1012 02 · 21 · JUIN

• WORK 1012 03 · 22 · BELLATERRA

* MATEO/23·5:

“But all their works they do for to be seen of men: they make broad their phylacteries, and enlarge the borders of their garments.”

DAY BY DAY BEFORE 1992

DAY BY DAY for many years, I set aside from my usual work images of things I saw, things which surprised me, thing which helped me to think. I used to take photographs of them with the intention of discussing them with friends and acquaintances. Viewing them again and again, I decided to intervene in parts of some of them, emphasizing or blurring what I thought distorted their expressive force, with the aim of improving the perception of the world, how it was shown and how we viewed it.

I wanted to make an effort against the trivialization of the image and to reflect on the question: What mighty mechanism have we developed which allows us to carry with our normal activities and remain unaffected by the sight of frightening images, shown in news reports or bulletins which the media day after day?

Around 1990, I started to conceive this collection of images as a small wordless documentary about what I had experienced over the last twenty years. The titles of the subjects were sufficiently explicit by themselves.

I didn’t wish this to be expressed as a single work, neither did I want it to be completely finished by machine, which is why I chose silk screen printing, which from my experience in image reproduction seemed to produce the best balance between repeatability, craftsmanship and image quality. By disseminating it I was seeking that parallel view which all creators search for and long to find.