2018
In the Reflexo series, the duplicated image is not that of the spectator who looks, but that of the space in which he is inserted. Everything is meticulously created so that the spectator cannot discern in what he sees what is the image fixed by the photograph from the image of the reflection that is produced at the moment he observes the space. This indiscernibility between the image (from the past) and the real specular reflection (from the present that flows) creates a kind of triggering of time in the experience of observing the work: “time passes and does not pass, it percolates” (Michel Serres). The Reflection series triggers an experience similar to that of paramnesia, a phenomenon that became popular under the name of déjà vu. In paramnesia the past becomes contemporary with the present that it was. At the same time that we perceive the present, memory reintroduces, in real time, the image of the present, transforming it into the past. Not by chance, the phenomenon of déjà vu is responsible for making us experience the past as being simultaneous with the present, and, at the same time, giving concreteness to the idea that the past is the ontological element of time (Henri Bergson). For Bergson, if the past were not contemporary with the present that it was, we would have no way of explaining the passage of time. Through photos that reflect the space of the gallery itself from the point of view of the place where the photos are located – photos that are framed with a reflective glass –, we confuse what is printed in the photo with the reflection of the space that is opposite. her, the very moment we see her.
