NEONES SERIES

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.   85 x 150 cm digital printing and led lights

Untitled, 2011.  150 x 85 cm digital printing and led lights

Untitled, 2011.  150 x 85 cm digital printing and led lights

Untitled, 2011.  150 x 85 cm digital printing and led lights

Untitled, 2011.  150 x 85 cm digital printing and led lights

Neon Lights

Conceptual Grounds

Light and color are the elements that, manipulated, define the outlines of this photographic work. Luces de Neón emerges spontaneously from a series of experimentations I had been making with digital programs such as Photoshop. Faced with the impossibility of attaining with snapshots a profoundly imaginative universe in contradiction with reality, I appealed to the resource of visual manipulation that not only revealed itself to me as means but also as end in itself.

Despite the fact that digital modification may be a “minor” exercise for those who defend the craft of traditional photography, the Cuban visual tradition has accepted that – provided it is performed in justified and adequate manner – it may cast new glances upon the object in question.

In this work, the intervention on the initial image is the result of opposed visual concerns. On one side, the aspiration to create a city in shadows in relation to the global urban landscape, and on the other side the (necessary) artificiality imposed by the universe of night lights, which at times I admit as a necessary but also deliberate  manipulation of certain local spaces.

However, night hours are not the sole reference in this series, where almost all snapshots were made during the day. There is an conscious intention of subversion of space and time when paradoxically the day outlines are illuminated, which is possible by degrading the main areas of the composition. However, the dazzle phenomenon does not make a strong impact, since the sense of this proposal is not the contrast but rather the pasting. As visual references I use some of the most impressive icons of Cuban architecture, with additional valuation of their different social uses.

From the visual paradox it entails, Luces de Neón is an open field of questionings regarding urban spaces. It might be understood as a satire to the public night lighting, but it might also be a focus of attention for those colors, many times imperceptible, achieved through the illumination of both the soul and art.

studio@donisllagoart.com

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