{"id":196682,"date":"2026-01-04T07:00:00","date_gmt":"2026-01-04T13:00:00","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=196682"},"modified":"2026-06-09T05:29:25","modified_gmt":"2026-06-09T11:29:25","slug":"carta-al-tiempo","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/carta-al-tiempo\/","title":{"rendered":"Letter to time"},"content":{"rendered":"

What pieces or projects have you been working on lately?<\/strong><\/p>\n\n\n\n

For some years now I have been working on a photographic project that, for now, I'll call Letter to time<\/em>. It is an exploration of the everyday, the fragile, and the intimate. By carefully looking at what surrounds me, I record ephemeral scenes: the light filtering through the blinds, a piece of ice about to break, birds in flight, the portrait of someone I may not see so often, a dish served just before it disappears. I approach these images without a strong conceptual framework, rather from a spontaneous, playful, even from a place of slight innocence.<\/p>\n\n\n\n

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

What did you learn (or unlearn) while working on them?<\/strong><\/p>\n\n\n\n

I have learned to look at the world through analog photography, which for me is very different from digital. Walking around with a light and completely manual camera, where each shot is scarce, has made me more aware of my gaze and of what -things or people- I decide to focus on. It has also taught me to observe light and to read its glints, shimmers and shadows as messages coming from somewhere. I feel that light always has something to say, and my task is to interpret it: to ask myself what illuminates, what it leaves in shadow, and why<\/p>\n\n\n\n

That close coexistence with the camera makes me feel accompanied. Since I migrated to Madrid in 2018, I have gone through many moments of loneliness and doubts about the decision to stay. Perhaps the camera is, for me, the space where I go narrating my life on this side of the world, with the intention of reminding me that here I am, and here I continue.<\/p>\n\n\n\n

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

What words, ideas or emotions were going through your head?<\/strong><\/p>\n\n\n\n

I think what moves me most to photograph is the feeling that what I am seeing is about to end, to fade, to disappear and never return. I don\u2019t experience it as something tragic, but rather as an almost visceral need to preserve it, to make it mine, to try to stop it, even though I know it's an absolute fiction, an illusory dream.<\/p>\n\n\n\n

Photographing in analog, without seeing the result immediately, gives me other rhythms. Developing, waiting, receiving the images from the surprise... all this makes me think of a slower time, almost circular. The past inscribed in each photograph speaks to me: I feel those images as messages that my former self sends me, and that I gather little by little with the intention of, someday, putting together a visual story. There is something profoundly magical in that process of waiting and not knowing what could finally be revealed.<\/p>\n\n\n\n

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

Were there any conversations, movies, music, or books that made their way into that work?<\/strong><\/p>\n\n\n\n

The book\u00a0The years<\/a><\/em>\u00a0by Annie Ernaux made me think about the ephemeral nature of what we see, about the passing of time and about photography as a silent witness of what has been lived. There are phrases of hers that stuck in my mind:\u00a0\u201cAll images will disappear.\u201d<\/em>\u00a0and\u00a0\u201cTo save something from the time when we will never be there anymore.\u201d<\/em>\u00a0I feel that he speaks from a certain resignation and coldness, but also with a deep desire to preserve what we see, what we live, what we feel. I like to imagine that, in the future, when many years have passed, I will look at these photographs with the same gaze with which Ernaux approaches memory: from a kind of melancholy and gratitude.<\/p>\n\n\n\n

I also believe that Sofia Coppola's cinematography has marked me ever since I saw The Virgin Suicides<\/a><\/em>, many years ago. he way her camera lingers on certain objects, and her use of natural light, evokes a sensitivity to everyday life: pauses, colors, textures, empty spaces. Her gaze on so-called \u201cfeminine\u201d processes is imbued with intimacy, solitude, and uncertainty, and that inspires me.<\/p>\n\n\n\n

And, finally, there is a poem that accompanies me: This is just to say<\/a><\/em>, by William Carlos Williams. It is a very short text, but in it I find an enormous teaching: the possibility of looking at the everyday with tenderness, of discovering beauty in the simplest things, in what could go unnoticed. Perhaps that is why I feel it so close to photography: that ability to rescue the small, the fleeting, and turn it into memory.<\/p>\n\n\n\n

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

What's been the most difficult thing you've faced recently in your creative process?<\/strong><\/p>\n\n\n\n

I think the most difficult thing for me is to conceptualize what I do. I have been taking these photos for many years almost without realizing what I was building: for me it was rather an accompaniment to daily life, something I was doing in parallel to my doctoral thesis, which studies violence against women during the internal armed conflict in Peru from the works of women artists. That is why I feel that this work was born from intuition and spontaneity, without having to think about it too much.<\/p>\n\n\n\n

I have been sharing images on social networks, but without a clear guide or someone to help me look beyond the obvious. It is a project to which I have not yet found a limit: I don't know when I'm going to stop, although maybe I'm about to think about it with more body and direction. In the end, images speak to us, and I feel that mine have already begun to whisper to each other.<\/p>\n\n\n\n

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

What is your favorite restaurant and what do you recommend we order?<\/strong><\/p>\n\n\n\n

 My favorite restaurant is called Isolina<\/a> and it\u2019s located in the Barranco neighborhood of Lima, Peru. I\u2019d start with a pisco sour, then have a ceviche with fried octopus, seco de cordero, and for dessert, a crema volteada\u2014undoubtedly the best in Lima.  <\/p>\n\n\n\n

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

If your life were a movie this month, what would it be called and who would write the soundtrack?<\/strong><\/p>\n\n\n\n

I think that uncertainty has been very present in this month, so I would name it A little more salt. <\/em>The soundtrack would be by the peruvian singer La l\u00e1.<\/a><\/em><\/p>\n\n\n\n

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

Recommend us an artist you follow who inspires you, and tell us what you like most about their work or their way of working.<\/strong><\/p>\n\n\n\n

I really admire the work of the peruvian artist Ana L\u00eda Or\u00e9zzoli<\/a><\/em>. She is a photographer who also captures the everyday and the intimate. In addition to creating exhibition projects where photography opens up to new possibilities of display, she has produced self-published photobooks in which she plays with words. Combining images and text is one of the processes I admire most, and I think she makes it look and sound wonderful. <\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

I think what motivates me most to photograph is the feeling that what I'm seeing is about to end, to fade away, to disappear and never return. I don't experience it as something tragic, but as an almost visceral need to preserve it, to make it my own.<\/p>","protected":false},"author":8055,"featured_media":196755,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-196682","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nCarta al tiempo - 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\/carta-al-tiempo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Carta al tiempo - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Creo que lo que m\u00e1s me mueve a fotografiar es la sensaci\u00f3n de que lo que estoy viendo est\u00e1 a punto de terminar, de desvanecerse, de desaparecer y ya no volver\u00e1. 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