SELECTED WORK / ENTER
2 - 6
ENTER (Triptych, digital photography, 50 x 110 cm)
I SEE YOU (Triptych, digital photography, 50 x 110 cm)
Interior hotel 6:45pm (Tríptico)
3 - 3
Interior hotel 6:45 pm (Triptych, digital photography, 30 x 60 cm)
6 - 6
Insert (Polyptych, digital photography, 50 x 110 cm)
Let’s start again from the beginning, Jeff. Tell me everything you saw...and what you think it means.
Lisa Fremont’s quote in the movie Rare Window, by Alfred Hitchcock (1954).
To get into ENTER it is necessary to think of yourself as an ever-present being who defines the final editing of the movie with its tour around theexhibit.
Alejandro Palomino transforms the viewer into a god capable of using its own sight as a zoom lens which can dwell in a double fiction: a cinematographic scene in a non-existent movie and landscapes which result from digital composing.
ENTER allows observance from the extent of the landscape to the focus on the little details. The artist fragments the scenes and their elements by delivering clues through various visual angles, he presents 4 series: Enter, I see you, Hotel Interior 6:45 pm and Insert.
In this work, we can discover Palomino’s visual, artistic and filmic obsessions: suspense narrative, the nature as a witness but also as a main actor in the events, time, the windows of the buildings and digital composing as an alternative to brushes in the creation of digital landscaping.
The constant here is the fragment. It is somehow viewed as a glance, as an obsession for detail, and memory itself as fiction.
Picture frozen time plays with the frame concept itself, suggesting that it is a fragment inside a bigger sequence and, through photographic zooms, it stresses the vision that the tour has been completed by the eye-camera but what is actually shown are the evidences of this displacement.
Apart from using the building as a character, Palomino also fragments it and takes one of its elements as a key piece: the window.
The window is ENTER, it is the ever-present eye which can look into the inside and the outside. Because of its transparency, it is free of subjectivity and even though it has been placed there by men in order to protect/lock up the interior of the building, it is always able to admire the landscape.
The metaphor of using spaces as containers of psychological universes is very noticeable through the concepts of Exterior and Interior which configures through the landscape and the building, the artificial and the natural.
Tamara Ibarra, 2016. Mexico City.