{"id":190542,"date":"2025-06-16T08:12:06","date_gmt":"2025-06-16T14:12:06","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=190542"},"modified":"2025-08-15T10:55:41","modified_gmt":"2025-08-15T16:55:41","slug":"frontera","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/frontera\/","title":{"rendered":"Frontera"},"content":{"rendered":"

What pieces or projects have you been working on lately?
<\/strong>Desde hace tiempo, la inmensidad me provoca una sensaci\u00f3n extra\u00f1a dif\u00edcil de nombrar. Hay algo en la relaci\u00f3n que tiene mi cuerpo con los espacios abiertos, con los contornos\u00a0indefinidos,\u00a0en\u00a0ese encuentro entre lo peque\u00f1o y lo infinito,\u00a0me generan\u00a0una\u00a0mezcla\u00a0de liviandad, atracci\u00f3n y v\u00e9rtigo.\u00a0<\/p>\n\n\n\n

Esa sensaci\u00f3n fue el punto de partida para reflexionar mis \u00faltimas fotograf\u00edas como una manera de abrir un di\u00e1logo con la inmensidad. Trabaj\u00e9 el espacio como un personaje m\u00e1s en la fotograf\u00eda, que sostiene la presencia del cuerpo. Esta posibilidad surgi\u00f3 a trav\u00e9s de un taller de autorretrato, que me permiti\u00f3 explorar mis im\u00e1genes desde una relaci\u00f3n mas consciente entre mis emociones y la narrativa que quiero trabajar. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What did you learn (or unlearn) while working on them?
<\/strong>El autorretrato es la base de mi trabajo,\u00a0pero con estas \u00faltimas fotograf\u00edas sent\u00ed que me ped\u00edan salir de los lugares comunes que hab\u00eda construido de m\u00ed mismo, suelo recurrir a la fragmentaci\u00f3n para contar historias. Por eso, trat\u00e9 de romper con esa imagen conocida, casi ensayada, que hab\u00eda aprendido a mostrar. El primer paso fue preguntarme, \u00bfqu\u00e9 me incomoda?, \u00bfqu\u00e9 parte no estoy mostrando? \u00a0<\/p>\n\n\n\n

La fotograf\u00eda se transform\u00f3 entones en el espacio de la revelaci\u00f3n y el tr\u00e1nsito. Una herramienta para confrontar y evidenciar los aspectos que no se ve\u00edan. El autorretrato paso a ser una forma de escucha, hacia el cuerpo y las emocionas, aquello que permanec\u00eda en silencio pidi\u00f3 ser revelado. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What words, ideas or emotions were going through your head?
<\/strong>Las palabras que aparec\u00edan era inmensidad, silencio, naturaleza. Pensaba en el cuerpo como una frontera.\u00a0<\/p>\n\n\n\n

Were there any conversations, movies, music, or books that made their way into that work?
<\/strong>Algunas conversaciones del taller de autorretrato funcionaron como detonadores emocionales y visuales. Escuchar como mis compa\u00f1eras se narran, me hizo cuestionar desde donde me estaba mirando.\u00a0Estas conversaciones han nutrido mi forma de hacer fotograf\u00eda, y\u00a0me empujan a reinterpretar mis silencios, a nombrar las cosas que han permanecido al margen y mostrar todo este aprendizaje frente a la c\u00e1mara.\u00a0<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

En el apartado musical, Tamino<\/a> fue una compa\u00f1\u00eda permanente. Su voz melanc\u00f3lica creo el espacio emocional adecuado para acompa\u00f1ar esta serie de fotograf\u00edas.\u00a0<\/p>\n\n\n\n

Which visual artists inspired you and what attracted you to their way of working?
<\/strong>Descubr\u00ed recientemente al fot\u00f3grafo\u00a0Junichi\u00a0Hakoyama<\/a>, cuya obra me inspir\u00f3\u00a0a\u00a0jugar y establecer mi propia relaci\u00f3n entre el espacio y el sujeto. En sus im\u00e1genes,\u00a0el entorno no\u00a0solo\u00a0act\u00faa como un fondo, sino como un amplificador de emociones, una gu\u00eda y un soporte para el personaje,\u00a0una alteraci\u00f3n\u00a0del ritmo visual que focaliza la acci\u00f3n y la expande.\u00a0<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Me interes\u00f3 c\u00f3mo logra que los espacios dialoguen con el cuerpo, y como construye una tensi\u00f3n visual con su composici\u00f3n: con negros muy saturados, y luces que en lugar de resaltar la soledad, rescatan la contemplaci\u00f3n y la presencia; el cuerpo se resiste a diluirse en esos espacios.<\/p>","protected":false},"excerpt":{"rendered":"

Trat\u00e9 de romper con esa imagen conocida, casi ensayada, que hab\u00eda aprendido a mostrar. El primer paso fue preguntarme, \u00bfqu\u00e9 me incomoda?, \u00bfqu\u00e9 parte no estoy mostrando? \u00a0<\/p>","protected":false},"author":7820,"featured_media":190543,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-190542","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nFrontera - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/frontera\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frontera - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Trat\u00e9 de romper con esa imagen conocida, casi ensayada, que hab\u00eda aprendido a mostrar. 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