MOUNTAIN IN SHADOW

HD / 16:9 / color / 14´ / 2012

Contemplative look toward the snowy mountain and skiers activity on it.
The vastness of space contrasts with the insignificant that people looks like, almost invisible by distance. Starting from the white snow, the image of the film becomes increasingly darker, transforming the space into something unreal, dreamlike and spectral. Also approaching its appearance to the image of a model artificially illuminated. Where skiers are merely points in the distance, sliding in an hypnotic movement. Also the image is flattened at times, losing all deep in search of a pictorial abstraction. This play with the perception of the scales, where the immensity of the mountain ends muddling up with the vision of a microscope, will go forward with the development of the film. This treatment also allows landscape viewing as a tactile experience: emphasizing the snow texture, confusing its matter and the space dimensions. Experiencing landscape image as something tangible: a tactil vision.
But finally, the view that we propose is identified in some way, with a possible view of the mountain from the summit, who observe men sliding by its mountainsides, like insects on the skin of an animal.

THE IMAGE BURNS

HD / 16:9 / color / 30’ / 2013

"The Image Burns" dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us. Director's statement "Facing each image what we should ask ourselves is how it looks (at us), how it thinks (of us) and how it touches (us), all at the same time "(Georges Didi-Huberman). The image is the mirror. The spectator faces the image in its reverberating time. Sound will allow us to read the image of the fire on different levels. Sound and image work on different timespans and layers. "Fire is just accelerated time" Koldo Artieda

INTO VIBRATION

"Nothing is so exhilarating as the attraction of the abyss"
Jules Verne

A journey through a primitive landscape, where you can observe different processes of the formation of Earth: lava fields, volcanoes, waterfalls, geysers... everything is extreme in its violence and size. The human being, insignificant, is overwhelmed and excluded from this process.
Always observed from a distance, the human figures explores this elementary geology, this zero landscape . We are also witnesses of tourism to natural areas. The energy emerging from landscape, conflicts with a certain trivialization of the place by mass and controlled tourism. It is nature as spectacle.
The project is structured as a diptych. "Into Earth´s vibration" focus its attention on the movement and the energy given off by the earth in volcanic areas. "Into water´s vibration" explores the space of a waterfall, where we saw the fall of the water in their different reactions with light. Always starting from a contemplative and poetic search.

DEATH WORKING

Videoinstallation. 2013.
Videos in loop, sheets of paper and thread.

"Mirrors are doors through which
Death comes and goes. Look at yourself and look at all
your life in a mirror and you will see death at work "
Jean Cocteau ("Orpheus")

This project comes from the existing link between face, identity, memory and death. The work consists of a set of video portraits where we see the face of a person looking at himself in a mirror, recognizing in his own face. In each video the person is doing the introspective action of remembering different times of his life. Thus, while identified in the features of his face, he also reconstructs his identity through memory. These mental images of time past brought to to the present cause a crash, and a greater awareness of time passing. The project seeks to focus attention and evoke those images hidden from memory.
The distorted image of the face that we are observing creates a parallel with the distorted image that memory offers of oneself, underlining also the idea of a moving painting. The projection on paper hanging on the air works in the same seeking of a painting result, while giving greater fragility and lightness to the image, in a spectral presence.

"Mirrors should reflect a little bit more before returning his image"
Jean Cocteau

THE EMPTY BODY

Video installations. loop. 2009

"Is not life but death vibrating"
Edmond Jabes
This work focuses on the representation of a state somewhere between life and death. It is proposed as a place where there is a loss of consciousness. The death has just reached us and our body is drained of life. This crucial instant in which our existence comes to an end, is what we try to capture in their flight. The light of life through us and let us inert. We are in a timeless, ethereal and volatile place.
The project "The empty body" consists of several video installations that can also function separately. The materials used are mirrors and transparent methacrylate sheets suspended in the air with plastic thread, which are traversed by the beam of the videoprojector. It also has an audio, a very low frequency music that reinforces the idea of limbo.

LAYERS OF THE IMAGE

Videoinstallation. HD / 16:9 / color / 2’30� / 2014 "Colors are the effort of the matter to become light" D'Annunzio The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: "The landscape are layers of time condensed into an image". We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape. To develop this idea plastically we perform a subtle alteration of the image. The technique involves a separation and desynchronization between the three layers of color (red, green and blue) that forms the total cromatic spectrum of the audiovisual images. It is inspired by the early studies of color photography of the Scottish physicist Clerk Maxwell, who in 1861 made the first color photo using the union of the three red-green-blue filters. From this process we seek to raise reflections about the man-landscape relationship and, in a more open way, about the act of looking and the process of image formation. "The temporal stream of the I, disperse into a thousand colored drops, like water from a waterfall in the sunlight" Octavio Paz

IN LANDSCAPE´S MOVEMENT

HD / color / 9´ / 2012

"The vastness, intimately born into a feeling of ecstasy, dissolve and absorbe somehow the sensible world"
Gaston Bachelard

The human figure, immobile, is situated within a landscape that develops facing towards him, surrounding. It is not a static environment, landscape is discovered in their subtle changes: the shadow of smoke on the ground, the mist revealing a mountain, a swirling in the sand ... The man, with his back to us and paralyzed, invites us to contemplate in intimacy and in detail, the processes of change in the natural environment. The camera also stands still, is the landscape that moves.

"Be still and watch the world moves"
Carlos Oroza ("Cabalum")

DURATION- LANDSCAPE

HD - minDV / 16:9 / color / 4’ / 2009-10

"The evaporation or the centralization of the self. Everything is there."
Charles Baudelaire

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.
At the sight of a sweeping landscape the senses are altered. An sublimation experience. The mental image of the landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way, it stops in our consciousness. It is the connection at the “full instant� (the “dureé� of Henri Bergson) where the intensity of the experience makes the image of the landscape expands, takes time and leads to catharsis. The image in these works is modified applying paint and vaseline on a filter that sits between the landscape and the target, so we got a subjectivation of the look and the effect of distortion of reality.

DISTANCE-LANDSCAPE

HD / color / 16:9 / 4’ / 2010-11

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.
We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.