{"id":201841,"date":"2026-03-08T11:00:00","date_gmt":"2026-03-08T17:00:00","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=201841"},"modified":"2026-03-07T19:18:21","modified_gmt":"2026-03-08T01:18:21","slug":"nieves-de-enero","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/nieves-de-enero\/","title":{"rendered":"January Snows"},"content":{"rendered":"

What pieces or projects have you been working on lately?<\/strong>
In my most recent projects I\u2019ve been exploring themes that are deeply personal and, at the same time, reflect the way I observe reality. One of the central axes has been solitude\u2014not as a lack or something negative, but as a necessary space to encounter oneself. From a perspective close to Taoism, solitude becomes silence, and silence becomes clarity.<\/p>\n\n\n\n

I have also been working on projects that have not yet seen the light, but that have been fundamental to my process. In them, analog photography has played a key role: it has taught me to accept error, to let go of control, and to trust the process. Each failed image, each imperfect negative, has become a lesson in patience and detachment\u2014values that run through both my artistic practice and the way I inhabit the world.<\/p>\n\n\n\n

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

What did you learn (or unlearn) while working on them?<\/strong>
During this process I learned that visual narrative is not built from a single perfect image, but from the coherence between images and the intention that connects them. I unlearned the idea that every photograph must be impeccable on its own; I came to understand that, in still photography, an image can be quiet, incomplete, or even uncomfortable, and still have a place within a broader narrative.<\/p>\n\n\n\n

I also unlearned the need to exercise control over situations. Instead of forcing a scene, I\u2019ve learned to observe, to wait, and to accept what the environment offers. This shift in perspective has been essential for my work to flow in a more honest way.<\/p>\n\n\n\n

Finally, I\u2019ve learned to give more conscious weight to decisions that once seemed merely technical, such as the choice of film. For me, the type of film is not just a medium but an extension of the idea I want to convey: its grain, its color, and its response to light become part of the emotion and the narrative I\u2019m trying to build.<\/p>\n\n\n\n

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

What words, ideas or emotions were going through your head?<\/strong>
While I work, two questions constantly return to my mind: What am I trying to convey? and What lies beyond what I\u2019m seeing? I\u2019m not only interested in what is evident, but in what remains hidden\u2014what doesn\u2019t reveal itself immediately but can be sensed.<\/p>\n\n\n\n

The emotions that accompany this process change, but in my most recent projects I\u2019ve returned again and again to melancholy and solitude. They are spaces of introspection and pause, places from which I can observe with greater clarity.<\/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 usually permeates my work indirectly, although in some projects its presence is much more evident. It functions as a prior state, like an emotional atmosphere from which I photograph.<\/p>\n\n\n\n

En mis proyectos m\u00e1s recientes, dos canciones han sido particularmente influyentes. “Chamber of Reflection” de Mac DeMarco<\/a><\/strong> ha acompa\u00f1ado el proceso desde un lugar introspectivo, casi contemplativo, reforzando esa sensaci\u00f3n de pausa y reflexi\u00f3n que atraviesa mi obra. Por otro lado, los \u00faltimos minutos de “I Want You (She\u2019s So Heavy)” han funcionado como un contraste: un cruce de guitarras y sonidos distorsionados que buscan tensar, incomodar y desgarrar la mente. Ese choque entre calma y saturaci\u00f3n ha encontrado eco en la manera en que construyo mis im\u00e1genes y narrativas visuales.<\/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>Lo m\u00e1s dif\u00edcil ha sido dar el paso del pensamiento a la acci\u00f3n. Aunque existen bocetos que delinean lo que quiero transmitir, llevar todo eso al plano fotogr\u00e1fico no siempre ocurre con la misma claridad. Ese desfase ha generado un constante ir y venir entre ideas, fotograf\u00edas experimentales y apuntes en papel.<\/p>\n\n\n\n

This process, although frustrating at times, has also been revealing. It has forced me to accept that not everything materializes immediately and that a work does not always follow a linear path. In that transition, between what is imagined and what is photographed, I\u2019ve learned to live with doubt and to understand it as an essential part of the creative process.<\/p>\n\n\n\n

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

What is your favorite restaurant and what do you recommend we order?<\/strong>
Plantasia<\/a><\/strong> en la Roma Norte. Es un restaurante a base de plantas y les puedo recomendar mucho el Pad Thai. Considero que es su platillo estrella.<\/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>I imagine Chalino Sanchez<\/a> <\/strong>haciendo el soundtrack de mi pel\u00edcula y se llamar\u00eda como su famosa canci\u00f3n: <\/strong>Las nieves de enero. <\/em><\/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>A great friend, whom I also consider my mentor in analog photography, is Sebas<\/a><\/strong>. I see him as a true reference in everything related to old photographic processes and methods; his knowledge and passion for technique have deeply influenced the way I understand and practice photography.<\/p>\n\n\n\n

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

One of the central axes has been solitude\u2014not as a lack or something negative, but as a necessary space to encounter oneself. 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