New projects/Nuevos proyectos

SOUTHWEST LIFE

With a passion for discovering new horizons, an eagerness to learn about NM history and a deep affection for nature, a new personal project was born, with the idea of revamping and/or reproducing the classic view of the Old West in the USA, from a modern way; the possible similarities and/or differences can be shown from a outsider’s point-of-view, much has changed although they continue to remain the same, inasmuch as the cultural diversity which has existed for centuries, and a deep devotion and attachment to the land and the pride of having its own history.

But it is also the continuation of a thesis project: ‘Film, Painting and Ideology in the Western Genre’ which was presented in June 2013 at the Universidad Europea de Madrid. It is a commentary of the relationship between 19th century landscape painting and the Western films, in particular during the Golden Age of the genre which took place from 1930 and 1950. It investigates the possible relationship between painters and film directors. It demonstrates the representation of vast landscapes and also the creation of a nationalistic identity through paintings and certain films.

But this new project although a continuation, also delves into the association between the photograph, motion pictures and paintings. Using different methods and elements it seeks to find the complement and artistic conclusion and with the use of the Cinemagraph technique this idea takes a giant leap forward and opens new pathways in artistic expression and exploration. With the creation of different tableau vivants or living paintings, it looks for a pictorial proximation with the contemporary Western style, reproducing typical XIX century Western scenes, both interiors and panoramas; depictions of situations, peoples and places from a new, young, serene and natural points-of-view, will meld generations and show how the younger members of a community perceive their past, as well as, the perception from others. The use of light would have a pictorical but also photographic treatment and the Cinemagraph technique will give enough movement, so as to create kinetic elements, contributing to a realistic or plausible theme.

These are two good examples of what a Cinemagraph is: We can appreciate the original movement of the video (models coming straight, or the person on the air) while it’s still, motionless; but we have an other element in permanent movement.