Origen I

Luis Marino presents us with a collection of photographs that are disturbing to say the least. With them he opens the doors to tremendously innovative proposals, speculating with languages so far little explored.

Since analogical reality entered into crisis with the advent of virtual reality, there has been no critic who has not reminded us that the pretension that photography must be an index of reality is little more than absurd.

In Luis' work this is clearly shown because the landscapes are consciously manipulated, disturbingly artificial despite their total veracity, which confuse and assault those who approach them.

In a paradoxical parable, it constitutes disappearance precisely in order to make its presence known, it forces the spectator's perceptive capacity to the point of making him or her go back and forth, where the origin of the territory is suggested or guessed rather than perceived. Where is the work? In the final result? In the process? Neither. Both, process and result, are partial and complementary visions of an interacting whole: the conceptual premise.

The spectator must guess, through the image, the primordial, the beginning of everything, in short, the geometries, in most cases simple and pure, adopt a new and enigmatic tone. The technique allows one to get as close as possible to reality in an attempt to imitate it, but once one has come so close, in the end it ceases to be reality. The camera only captures what is in front of it and hardly allows one to know all the circumstances surrounding an image. After all, the real reality, as Luis well knows, does not exist, only its representation.

José María López Ballesta Comisario de ‘Origen’

Origen I

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