Narrative sequences

This modality of narrative system is somehow reversed from moving pictures. Whereas video images “move” before your eyes, printed images remain still, compelling the spectator to move her body in the space in order to introduce time within the visual material. On the other hand, the synchronization between images and sound is left up to the spectator, increasing her participation in the interpretation of the narrative.


Casa Diógenes

Variable dimensions, 2011

llusion’s last chapter begins with the protagonist entering the apartment of his father, who had been found dead in it. He had not spoken to him for years, and he comes to his house only to discover that the old man suffered Diogenes syndrome (extreme hoarding). The apartment is a jumble of found objects, accumulated in an inextricable chaos that fills the rooms from floor to ceiling. While wandering around, he finds a number of objects, texts and images that trigger some stories within the story, such as Dürer’s Rhinoceros (about second-hand knowledge), Novgorod Codex (example of hyper-palimpsest) and Seven Masks (about a process of unveiling layers of a subject till reaching his empty core).

These stories talk about different aspects of his father’s ill behavior: compulsive appropriation of found items, the creation of a tangle impossible to decipher, and the contradictory attempt to both isolate himself from the others and his dependency on the surrounding environment to define himself. Taking as a departure point the mnemonic technique known as Memory Room, the protagonist traces a parallel between memory, space, accumulation and feeling of self-identity -which renders bizarre results when applied to the case of his father’s apartment. Paradoxically, at the time of his death, he recognizes commonalities shared with his father, whom, during all his life, had been a model to reject. Having left behind a destructive story with Lorraine, the protagonist feels that the beginning of another cycle of desire is coming. After been disappointed by the possession of his desired object, he is willing to start the search for another one that sets even greater difficulties and, with them, greater dangers for his own being. He sees it is time to enter the same neurotic wheel, to imitate again someone’s desire, to long for a new obstacle, to end up in disaster. At that point, in the middle of that messy apartment, he decides to set out himself to escape that recurring cycle that only leads to despair and ignorance.

Play soundtrack Casa Diógenes (6′ 20”)


Slave Chain

360 x 340 cm (100 x 70 cm each picture), 2010

Slave Chain is also the title of the third chapter of my novel Illusion. This installation reproduces by visual means the fundamental idea of that chapter. Everyone is in love with the wrong person and becomes thus his/her slave. The master, in turn, becomes the slave of someone else in the next picture. Each visual installment is linked to the next one by means of graphic arrows. The circle closes itself by making a chain of relations among characters where everyone is master or slave, depending on the situation and the people around him/her.


Seven Masks

16,74 meters x 49 cm, 2009

Long narrative sequence along which public walk with an accompanying sound track in a mp3 player with headphones. Unlike video and film, where pictures “move” while spectator’s body remains still, in Seven Masks the spectator is compelled to move in the space in order to introduce time within the visual material and, in so doing, activate its narrative elements. Also, unlike video and film, the soundtrack is not synchronized in forehand. It is up to the spectator to relate sound and images by walking at a faster pace, coming back and forth, and so on. This system opens up the work for spectator’s interpretation through their active participation.


Seven Masks sound track (3′ 36”)

7masks-017masks-027masks-037masks-047masks-057masks-067masks-077masks-087masks-09Follow the link to see more pictures of Seven Masks installed in the space as part of the group show Lecho de Muerte, in Corrosia! (Almere, NL)


A Dream_Teeth Leporello

30 x 11 cm (closed), 390 x 11 cm (open), 2009

This narrative system is similar to that of Seven Masks, only that in a “portable” version. In this case, the sequence of images is displayed in a book that unfolds almost four meters when opened, while the spectator listens to the sound track (a narrative voice with sound effects) in the headphones. Edition of 100 copies. 




Sound track of A Dream_Teeth:



A Dream_Teeth also exists as a video animation



430 x 75 cm (100 x 75 each print), lambda prints on dibond, 2008






Mimicry is a sequence of images that depict a zoom-in on a speaking character. Unlike cinema, where such camera movement provides with an insight on the character’s psyche, in Mimicry, the closer we get to his face, the less we see of him, as he blends into the surrounding space. The schizophrenic nature of his speech is based on the text Mimetisme et psychasthénie légendaire, by Roger Callois. This is not the only quotation. The space where this scene evolves is a collage composition based on a reconstruction of Freud’s room, actually in display in his museum in London. I have never been there. Instead, I gathered a number of photographs that tourists had uploaded in the internet. They are all similar and yet they slightly differ in angle, colour temperature, focus, and so on.


Déjà Vu

400 x 47 cm (95 x 47 each print), lambda prints on dibond, 2008




“We all have some experience of a feeling, that comes over us occasionally, of what we are saying and doing having been said and done before, of our having been surrounded by the same faces, objects and circumstances, of our knowing perfectly what will be said next, as if we suddenly remember it”. Charles Dickens.

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