I remember the moment I first saw the negative of a photographic film.
I was about nine years old and my uncle, a professional photographer, was trying to explain to me how it was going to be transformed into an object, a real photograph.
I did not have the slightest interest in what was about to happen.
I was fascinated by what was already revealed to me.
Later I told myself that I was operating an imaginary re-composition of the visual elements, but in fact I was simply looking at what it was right in front of my eyes, knowing beyond concepts and, above all, preconceptions.
The adult lacks the innocence of perception and does not have access to this level of knowledge.
Everything is in sets.
Objects, premonitions, senses, spaces.
One needs to approach, process, interrogate, update, organize, find methods, classifications, intersections, create matrices, destroy them.
And then it is necessary to give up.
Here I rebuild the dream in which both white as black and black as white manifest simultaneously.
Now I wake up, in the point of absurdity from which everything is visible.
As it is.
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