Series: Fugacious
In this photographic series, memory-space-time interrelationships are explored from the experience of a restless mind attempting to find a way to stop its accelerated rhythm by freezing a fleeting moment.
The displaced images exhibit a conception of the landscape in its representation of society, expressed without any documentary pretensions and as a result of the transience of the gaze. Those moments are captured by a moving camera that uses the road as a reticular communicating vessel between these very diverse local realities.
Using these concepts, I show the incompatibility between the observer and the observed, which often seems to respond to a different chronology, as memory does with the temporal reality that we experience. As a result, our eyes are registering fragments of stories that quickly fade and, consequently, they fail to fixate on our memory.
These images are the testimony of an ungraspable reality that dissapears in front of our eyes.
Mary Frances Attías
In this photographic series, memory-space-time interrelationships are explored from the experience of a restless mind attempting to find a way to stop its accelerated rhythm by freezing a fleeting moment.
The displaced images exhibit a conception of the landscape in its representation of society, expressed without any documentary pretensions and as a result of the transience of the gaze. Those moments are captured by a moving camera that uses the road as a reticular communicating vessel between these very diverse local realities.
Using these concepts, I show the incompatibility between the observer and the observed, which often seems to respond to a different chronology, as memory does with the temporal reality that we experience. As a result, our eyes are registering fragments of stories that quickly fade and, consequently, they fail to fixate on our memory.
These images are the testimony of an ungraspable reality that dissapears in front of our eyes.
Mary Frances Attías
In this photographic series, memory-space-time interrelationships are explored from the experience of a restless mind attempting to find a way to stop its accelerated rhythm by freezing a fleeting moment.
The displaced images exhibit a conception of the landscape in its representation of society, expressed without any documentary pretensions and as a result of the transience of the gaze. Those moments are captured by a moving camera that uses the road as a reticular communicating vessel between these very diverse local realities.
Using these concepts, I show the incompatibility between the observer and the observed, which often seems to respond to a different chronology, as memory does with the temporal reality that we experience. As a result, our eyes are registering fragments of stories that quickly fade and, consequently, they fail to fixate on our memory.
These images are the testimony of an ungraspable reality that dissapears in front of our eyes.
Mary Frances Attías