{"id":200026,"date":"2026-02-24T07:00:00","date_gmt":"2026-02-24T13:00:00","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=200026"},"modified":"2026-02-17T11:53:21","modified_gmt":"2026-02-17T17:53:21","slug":"crei-avanzar-y-lo-perdi","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/crei-avanzar-y-lo-perdi\/","title":{"rendered":"I Thought I Was Moving Forward and Lost It"},"content":{"rendered":"

What pieces or projects have you been working on lately?
<\/strong>Although photography is an essential part of my creative self \u2014 along with literature, even though I\u2019ve neglected it quite a bit \u2014 I don\u2019t really work on projects. Every day I go out like an idiot dragging a camera with me \u2014 figuratively, because I take better care of them than I do of myself. If something crosses my path and it\u2019s worth it, I photograph it. I\u2019m not looking for perfect compositions, angles, or polished technique. My photographer self, unlike my writer self, emerged from the need for people to see what I see and how I see it: situations, emotions, people.

If I had to speak of a \u201cproject,\u201d it would be my life and my surroundings. I fucking love street photography; however, lately I\u2019ve focused on portraying the people around me: my friends who are there for me during sleepless nights, my parents, my siblings, me drunk.

My project is me. Seeing myself through my lens: my passions, fears, anxieties, pain, love. Feeling that if I don\u2019t portray it, if I don\u2019t capture it with the camera, it will be as if it never happened, as if it didn\u2019t exist or didn\u2019t carry the importance it holds. Many of my photos are self-portraits: how I see a child, a man, or a dog. Everything is me and what I admire and imprint onto the subject.<\/p>\n\n\n\n

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

What did you learn (or unlearn) while working on them?
<\/strong>What a day-to-day looks like \u2014 or roll to roll \u2014 because the pretentious asshole that I am only shoots analog. I\u2019ve learned to take the camera out of my hands when I start drinking. That\u2019s because I\u2019ve had rolls developed with three disgusting photos of a beer or my kitchen. Unfortunately, I throw away those shots that aren\u2019t even in focus and have no value. So I\u2019ve learned \u2014 even if it doesn\u2019t seem like it \u2014 to save film. I shoot as if rolls were free and then find myself eating instant noodles just to make it to payday.

Something I unlearned was composition. I started giving myself more freedom: focusing in ways I know aren\u2019t 100% pleasing to the eye, but that make me feel they\u2019re gazes anyone could have at some point. Obviously, in many ways I\u2019m a snob, since I tend to be very purist about the rolls I use; yet at the same time I try \u2014 not always successfully \u2014 not to do the same thing all the time.<\/p>\n\n\n\n

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

What words, ideas or emotions were going through your head?
<\/strong>Chaos, anger, love, anxiety, affection, tenderness, loneliness, peace, pain, happiness, moments, photos, words, beer, insomnia.<\/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>Music is central to my creative self. My mood depends on what I\u2019m listening to. When I used to write more, I\u2019d do it listening to punk or hard rock until two or three in the morning. Now that I\u2019ve focused more on photography, going out with headphones listening, for example, to Kendrick Lamar makes me feel more contemplative and even direct. Music gives me a confidence I wouldn\u2019t have without it in my ears.

As for films, Almost Famous<\/a><\/em><\/strong> (2000) reminds me of someone and of myself. It fills me with affection and love; it\u2019s a longing for something I would have liked to live through at some point.

For books I have an unreal love for Rafa Saavedra<\/strong><\/a> that sometimes makes me want, when it comes to lights or concerts, to emulate that ecstatic feeling I find in his short stories and chronicles.

And finally, a conversation. It\u2019s incredibly hard for me to be vulnerable with people, even with my therapist. But recently, a conversation that ended with \u201cI\u2019m very sorry you went through that\u201d first gave me the strength to get through that week and later the certainty that sometimes the shit we throw at ourselves should be less.<\/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>Myself. I\u2019m my own worst enemy. My own worst critic. It\u2019s rare for me to genuinely like what I do. I don\u2019t know if the problem is that I\u2019m too hard on my work or that I think no matter what I do, someone will always be able to do it better. But in an attempt to perpetuate the absurd, I keep doing it anyway, because I can. I can keep taking photos and, no matter how bad I might feel, I still find meaning in them. A meaning that, of course, doesn\u2019t come with self-recognition.<\/p>\n\n\n\n

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

What is your favorite restaurant and what do you recommend we order?
<\/strong>It\u2019s hard, because for me food meets certain mood, sobriety, or craving parameters. So I\u2019ll dare to recommend a few.

First, ramen: Wan Wan Sakaba<\/strong><\/a> in Ju\u00e1rez. It\u2019s Japanese food, but whenever I go I order the same thing: Tan Tan Ramen with thick noodles, along with a Sapporo. It never fails.

Now, birria, my favorite broth. I\u2019ve tried several and there are two that are my favorites, but over the past year, because it\u2019s close to my house, I go more often to one. I\u2019ve gone sober, dizzy, very drunk, and I always enjoy it. Birria Don Chuy<\/strong><\/a> in Guerrero. Like all good things, it\u2019s open 24 hours. My combo every time: a plate of birria, a cheese quesadilla, and a beer. Top tier.

Then tacos. What would a chilango be without choricera tacos? I won\u2019t recommend anything from the Roma-Condesa spectrum. I\u2019ll go closer to the airport, to the neighborhood where I was born and where a few guys woke up with ice picks in their bellybuttons: Tascos Pascual<\/strong><\/a> in Malinche, near Eduardo Molina metro. MY ultimate tacos. I\u2019ve arrived by bike, already half buzzed, to eat campechano, lengua, tripe, or pastor. They\u2019ve never failed me. When I say they\u2019re MY tacos, it\u2019s because I\u2019ve only taken one person there outside my family. I don\u2019t think I\u2019ll take anyone else anytime soon.

Those three are my favorites. Obviously I\u2019m missing others, like the chicken broths from the R1 in San Agust\u00edn, Ecatepec. If you ever go, I recommend the breast quarter with everything: onion, chile piqu\u00edn, lime, and a bolillo. You can\u2019t go wrong. You won\u2019t find better broths, and I doubt you\u2019ll see them on TikTok.<\/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>It\u2019s January, it\u2019s 2026. New life and close to my birthday\u2026 The film would be called I Thought I Was Moving Forward and Lost It<\/em>. The soundtrack would be by Kendrick Lamar<\/strong><\/a> and Juan Gabriel<\/strong><\/a>. Gurus and prophets of my life.<\/p>\n\n\n\n

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

Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.
<\/strong>I admire and will always admire Pascal\u2019s<\/strong><\/a>work. She is the highest point I aspire to as a person and artist. Then Lina<\/strong><\/a>. Her art is raw and absurdly honest; you feel pain, ecstasy, sadness, happiness. It\u2019s everything \u2014 pure power. And finally, Enrique Barbabosa<\/strong><\/a>, a deeply beautiful photographer.<\/p>\n\n\n\n

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

I\u2019m not looking for perfect compositions, angles, or polished technique. 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