The modus operandi of this work is photography as an archive. The work consists of more than 3600 images.
The work focuses on trauma, a serious automobile accident, and on how to mourn for such bereavement: using photography as the therapeutic instrument that would allow him to revise the trauma. With this in mind, for a period of six months, he took pictures whenever he was the driver or passenger in any type of vehicle: car, motorcycle, bike, bus, train.
These color images are done instinctively, sometimes without even looking through the viewfinder. It is thus a fragmented vision, an outline, comprised of subtle shadows; they are momentary, unstable, ephemeral representations that lack any indication of time. Through this vision, the photographer recounts the spatial and temporal disorientation provoked by the traumatic event of the accident as well as the physical and psychological pain related to the event. What is always denied is the moment of the origin, the stamp of authenticity that the photographs should help us to identify, understand and protect when attempting to construct the traumatic event.
To express this desire –and at the same time, to conceptualize its impossibility– involves becoming aware of the opacity of photography, of its incompleteness, of how it lacks self.-sufficiency when constructing the tale of memory.