Fragments
I remember everything
Fragments X
The house had colors of work, pieces of effort and experience. Him. A blue voice. A fraternal thought and human glare.
Fragment V
A birthday cake and a holiday sun. A light blue mirror from where new things used to born. Time of findings and playing in freedom.
Fragment XXVI
A song, an air, a drawing. The water, a sand beach, roses and a white house. A woman and some fresh fruit.
Fragment VI
The treasure. Parents.
An artwork is a complex reality, because it is plenty of “dumb” elements which are updated, “rescued”, in the reading process.
During this visual and symbolic meeting, an update meeting, there is an amount of trust, through which we become makers and accomplices of a tacit covenant among us, the work and everything.
A sort of collage, that is the product of the capacity to gather ideas, sensations, concepts and images, which allows us to keep knowledge and hold existence.
In this call to a free interpretation, that is just his own generative mechanism, we are pieces and strategies of the work.
A generous action that trust in a worthy subject full of intelligence and sensibility.
So I think that “fragment” is a noun. Not a common noun, but an abstract one, as love, happiness, childhood. Those are just the ones able to appreciate through intelligence and common interpretation.
David images are people. And according with that, they are “names”, what absolutely belongs to the identity of a human being, and makes him unique and singular. At this time the work offers a door up to an infinite opening of possibilities: Pierre, Sofie, Jean, Baptiste, Pauline, Juan, Marie, David, etc.
It might be that sometimes all these visual operations are mirrors of personal experiences. Meeting, chosen ideas. Made and worked on an original totality where many abruptions appear.
It’s a non verbal action registration made up with the body, produced by a precise movement and created just with the artist energy. Something. Plenty of meaning, in that third sense mentioned by Barthes.
The appropriation of these images question the heterotopic dimension of photography, as vernacular. They recover the aesthetic value of what we would call domestic photographs, question it and give it back to us. The same thing that Clement Cheroux calls “The other of the art”: when domestic and useful images leave their place of birth, and then are taken, becoming the “other”, who gives its fascinating aesthetic qualities.
Photographs all acquire value of document as they illustrate, inform, transmit or suggest knowledge about some fact. That by their singularity and importance they are a testimony of a past and unique a priori truthful fact. A “fragment”, a statement of a time, of sensitivity and life.
Fragment XXXIV
Sunny days are always good to take photos. Summer charm invites, seduces us. Flowers scent was perfect and we were together. Family.
Juan Cañizares, March 2017