We are flowers. Poetry of slowness
Text: Andres Ibañez

Borraja

Borraja

The deceptive appearance of water. Water as substance. Water as a substitute for time. Statements by water. Water as a creator of universes. A theory of puddles. Squalor and splendour in the puddle. The puddle as showcase. Humble showcases of wonders on the floor of cities, in the corners of the forest. Waves, lines, fringes, splendour. The splendour of the light in the midst of darkness. Loneliness or the fretwork petal, always returning to itself. The ripple of the lace curtain, an image of the silent power of the universe. The corner by the stream where little girls disappear. Rushes, reeds, submerged plants, floating flowers, black water, black mirror, night of water. Splendour, shining, hopes, illusions. Lost hope. Submerged flowers. Automatic writing. Dead flowers. Cut flowers. Submerged flowers. The human being as flower. Human life as existence cut off, submerged. Splendour, fullness of vital immersion in a reflection. Apparition of a double world.

Después de la lluvia (2007)

Después de la lluvia (2007)

Mar menor (2004)

Mar menor (2004)

Rain in the tropics. Drops on the window, heralding a new age of representation. A world seen through tears. Destruction of the palm tree by the battle of tears. Victorious resurrection of the palm tree in the labyrinth of an abandoned house. Abandonment as fullness. The moral conscience of a world in ruins reveals a chance of fullness through osmosis with nature. Ruin as the fullness of architecture. Ruin as submerged time. Ruin as a flower. Ruin as resistance. Chalky, scratched, worn, rusty, chipped and their corresponding theorems. Ruin as submerged architecture. This was, here it was, here they lived, and the corresponding impossibles. Ruin reveals the futility of any project and the beauty of that futility. The beauty of what is. Ruin invaded by nature. Establishment of a democracy of light in the intersection between architecture and the realm of leaves. The house returns to nature. Then the ruin is no longer ruin, because it is once more nature. Double nature, nature reconquered: in us. Man is a flower, the house is also a flower: Nothing is empty. Nothing is futile. Nothing dies entirely.

The realisation that poetry is everywhere. Establishment of a new realm of poetry in plastic. Photography reveals the poetry of plastic. Paths in the forest. Tracks on the plastic. They are snail tracks, by the animal of slowness. Slowness produces an inconceivable labyrinth. Human life as a snail track on the taut plastic of the greenhouse. Human life as a trail. An irrelevant trail, the shadow of a life. Paths as shadows of past lives. Futility of paths, deceptiveness, the fleeting nature of all goals. Poetry of what is. Poetry of slowness. Profound intimacy of plastic, the closest and most natural element to us. Plastic, the friend of the poor and of simple things. It's everywhere, like charm. It stands up victoriously to time, sunlight and water. It's practically immortal. Plastic as a veil. Poetry of plastic in the ecstasy of slowness. The mystery of light on any semi-transparent surface. Translucent material. Intimacy and slowness. Poverty and splendour. Discovery by Marcus Aurelius of beauty in all things. Plastic, pierced by lights and shadows, crossed by the anthropomorphic mystery of the tracks left by snails, reveals the apparition of the double world.

Appearance and reality. Flowers and time. Commentary on Gongora's letrilla, 'Learn from me, flowers, the difference between yesterday and today'. The search for simplicity leads to the palace of complexity. Discovery of complexity as an attribute of simplicity. Complexity of flowers. Complexity of a reflection. Theories of reflection and truth, of poetry and truth, of appearance and transformation of appearance. Mathematical calculations of the refraction of light. Complexity as the opposite of what is complicated. Submerged flowers. Submerged worlds. Bubbles. Spheres. Millions of worlds. Planets, stars, constellations. All in a vase. The universe in a glass of water.

A woman, the photographer, fills tanks with water, submerges flowers, arranges the light, composes still lifes with fruit. She creates images with infinite charm using flowers that move like human bodies, that take on human gestures and postures, that look at us like human faces. A stalk crowned by an umbel becomes a gigantic baobab. A bronze plate seems to reproduce a detailed landscape by Watteau. Photography approaches painting revealing the living essence of all the arts, its relationship to the processes of creation, growth and decay. Revelation of human life as poetry. Worlds of mystery and reflection, spaces for meditation. The still life, the landscape, the cut flower, as episodes from human history in relation to food, the home and private life. A tenuous, mysterious history of the world.

Invernadero (1983)

Invernadero (1983)

Umbela (2010)

Umbela (2010)

 

Diseño: Óptima! comunicación visual