Dancing around gasoline geysers, one year after the big quake

Analog Chromogenic Prints, 2019.

Photographs become old flames. Georges Didi-Huberman defines photographic images as fiery objects; they flicker and burn, they emit light, they turn to ashes, they burn out. I believe this is particularly true of analog images, the effect of light on the photosensitive material might burn its surface beyond recognition. Some territories as well, are hot and burn easily.

These images were created by Mexican light. Both as a place and as a concept, Mexico is barely enduring the events that take place on it: people disappear ending on unmarked graves, buildings collapse, and people turn to ashes in seconds, while bathing around gasoline geysers. The hyperbolic expressions of being involved in a volatile situation, or to be standing on shaky ground are not hyperbole in Mexico, they are the fabric of its everyday.

The country seems to only need a spark to burst into flames. This condition is deliberately reflected in this series of images. All of them present different degrees of fogging, burning, re-exposure to light, and intervention of translucent ghostly elements in their surface. Within the current state of affairs, to produce a clean and unspoiled image in Mexico seems to be an attempt to idealize reality and to overlook the limitless historical, social, and individual happenings taking place on its territory. These images offer an escape while simultaneously reflecting a parcel of reality.