Matosinhos, Portugal, 1973


These series of images result from an experimental work that explores the apparent dissonance between what the human eye has accustomed us to consider real and the synthesis of accumulations and transitions of the reality that the mechanical eye of the camera allows us to obtain.
Starting from the premise that there are no abstract photographs, because all of them are affiliated to a referent of the physical world, these images operate a game that questions the attribute of representation of the photographs. We hesitate to codify these running images. They are the photographed object and, at the same time, they are not. They are hypothetical images, focused on a process of duration and randomness, ambivalent in relation to (photographic) language that they cannot fail to assume, but in search of plastic freedom.
It is in this tension of search and escape, of approach and detachment, that the proposal of these images lives.