1. Photography
Photography is a technological tool that has a demonic potential. When it comes to interpreting the forces it brings into play, a number of canonical texts have always given priority to its status as a document, as a testimony, to temporal elements over spatial ones. However, photography conjugates an exteriority that puts the subject at risk: in it we are not us, and that has always been omitted in the analysis that has been made of photography. In photography, the subject conceived from temporality always dies, lasts nothing, or lasts dead.
The difference between the human and the inhuman-natural is articulated in modernity as the difference between man and machine. Perhaps photography is the epidermis of this differentiation, the sensitive skin of its very limit.

2. Synchronies
Diachrony is the temporality proper to science and mathematics, it is the time that clocks measure, that organizes our lives, it is the time of escape since it is a temporality that erases the past, subsumes the present and omits the future. It is a time that has given more than enough proof of its phagocytic impulse of the physical and human environment. This conception of time ignores other temporalities. Faced with the inherent blindness of diachrony, synchrony is presented as an alternative inherited from the ancient world that reappears today, firstly due to the boom of information technologies, and secondly because of the moral need for an alternative that does not instrumentalize everything indiscriminately. In synchrony, everything is given at once, everything is brought together; synchrony embraces the totality of what exists in an invitation to coexistence. It does not subsume, it does not exclude, it does not divide, it is convergent. That is why, in the series of synchronistic works, we see the physical world behaving as it pleases, following laws that are not human, at the same time that everything that dictates the course of contemporary societies at the pace imposed by information and consumption occurs.

3. The experience
We start from the assumption that Western culture is in decline; we live in a regime whose generalized impoverishment of experience has led to a universally shattered relationship with the material world and the experience of the object.

Photography can only play a divergent role within this order of things if we mistreat it. As a limit between an inside and an outside, photography conjugates the same conditions that occur in sensibility; photography folds into a single body, or limit, what is at the base of our experience (the transitory modifications of the sensitive membrane). It seems interesting to me to bring photography down from that limbo to which it has been relegated since its beginnings, to degrade it so that it abandons its status as a monument to a predefined time.

Every photograph, besides having an interiority, a time to which it refers, a meaning within the history of events, has an exteriority: an inscription, a written space (-graphy), a skin. Understanding a photograph is only possible when we are written, inscribed, described by the same sense from which we speak, the same skin.