These underwater portraits
speak of an apparent innocence: the pretended candor of
childhood and the innocence of a gaze.|
They also describe an ambiguous zone that emerges from the
particular situation of the shots. The aquatic medium
determines the photographic condition, taking it to an
extreme. The image obtained is the exact result of
defenselessness and protection. The latter if we consider
water as the primeval medium; the former with water as a
hostile element in which there is no chance of survival. The
result touches upon the oniric, understanding dreams as the
delicate limit between life and death.
Within this ambiguity the volitional quality of human beings
is reduced to that of the animal species. Thus, the apparent
innocence uncovers portraits that reveal the condition as a
species which precedes human nature.