Whiplash

What pieces or projects have you been working on lately?
I’m currently working on a project that started in January, when I did a two-week road trip through California and Nevada with the intention of photographing certain places and people in a more spontaneous and documentary way.

What did you learn (or unlearn) while working on it?
What I keep learning is how important it is to give creative processes enough time to settle, with all their different moments of motivation, frustration, excitement, demotivation, etc., without letting the anxiety of wanting to finish too quickly take over. Also, being open to the idea that a project can shift and mutate as it develops, instead of staying too rigid with the initial idea.

What words, ideas or emotions were surrounding you during this process?
When I started the trip, I tried not to impose any specific concept or idea onto the work. I felt that once I came back to Madrid and looked through all the images, the concept would reveal itself naturally. And that’s pretty much what happened: an idea I’d been thinking about for a long time started to emerge, related to how spaces designed for excess, fantasy and escapism can also generate stillness, disconnection and a certain silent discomfort. Emotionally, I was able to reconnect with the euphoria of being in the places that inspire me and generate new ideas.

Was there any conversation, film, music or book that slipped into the work?
So many things. Sometimes I feel really influenced by my photographic, musical and literary references. Just to name a few: The Doors, Jim Morrison himself, Janis Joplin, Jefferson Airplane, Lana Del Rey, Elvis, Bukowski, Jack Kerouac, Joan Didion, etc. Before the trip, I read Softly, As I Leave You by Priscilla Presley, where she autobiographically recounts her personal journey from leaving Elvis up to the present day. I became a bit obsessed with the story and decided I wanted to create something related to the Presleys while I was in Las Vegas. Visually, I think my biggest influence has been and still is Robby Müller, cinematographer of many of my favorite films, including Paris, Texas.

What has been the hardest thing you’ve faced lately in your creative process?
The classic burnout.

What’s your favorite café and why do you like going there?
I have a few, but lately I’ve been going a lot to Four in Madrid. It’s located in a tiny square with tables outside, and the area feels unusually calm for the city.

If your life this month were a film, what would the title be and who would make the soundtrack?
I think I’m going to steal the title of an existing film because I feel pretty identified with Whiplash, the movie about the drummer who becomes obsessed with his work. The soundtrack would definitely be “Caravan” by Buddy Rich.

Which studios, labs or workshops have you collaborated with recently, or would you like to collaborate with in the future?
Since February I’ve been working a lot at Contado Pierde in Madrid. It really changed my practice because being able to rent the space monthly allows me to take the necessary time to print each image and get to the result I’m actually looking for.

Recommend one or more artists that inspire you, and tell us what you like most about their work or way of working.
For people who don’t know him, I always recommend Joel Sternfeld, one of the old-school photographers from the same generation as Eggleston or Joel Meyerowitz. There are several interviews on YouTube where he talks about his process: he spent years traveling across the United States photographing American society using an 8×10 camera. What I find most interesting is that, because the format was so expensive, he said he could often only afford to take one or two photographs a day. And even if the light or the landscape wasn’t exactly how he wanted it, he preferred not to shoot. I think it’s a really beautiful way of thinking about photography, through patience and waiting.