Numerous texts and authors have worked around photography, building a solid theoretical basis in, less than a century, to articulate the meaning of photography. Benjamin, Sontag, Krauss, Rosler, Burgin, Barthes, Batchen, Flusser or Baudrillard, are recurrently cited, despite being away from the current photographic practice that has been conquered by the digital, internet, social networks and mobile photography, substantially altering the nature of the medium.
Thus, when trying to address a research on photography there have been many questions about what had changed with photography at the immaterial Post-Internet era. My concerns about this issue forced me to change the way I was working with photography up until that moment. I was not able to continue my visual and theoretical approach towards photography in the same way. There were so many questions that were leading up to the same place. They came to show that there is a gap, a sort of abyss. There is a crack, a rupture, an open space that is almost infinite and becomes an apparent mismatch, an uncomfortable sensation, a misunderstanding.
So, in 2011 I decided to remove all the images from my website and commence a kind of visual strike. For a thousand days people will only find on the web a text explaining this lack of images and nothing more. This mandatory pause brings me the opportunity to understand my photographic and theoretical production in a new way.
After reading and investigating during a period of time, in 2014 I started my theoretical research for my PHD: Transphotography, the Postphotographic Drift. About the Present of Photographic theory in the Post-Internet Era. For this, the subject matter is no other than that space, that gulf between the theoretical references and the photographic practice. On my part, there is no intention of trying to define, as some authors have done, what is or what becomes Post-photography; rather, it is to discover the possible flexibility or permeability of some texts that I consider fundamental, and analyze its possible effect.
Furthermore, I have produced multiple visual project that reflect upon these concerns which will appear in the following sections. In these, I approach photography from non-visible forms that are made up of different techniques such as scanography, graphic design, appropriation or retouched photography.
In this sense, the intention of these projects is to complete my research from artistic practice. I consider another part of the process, for visual investigation should be addressed and supported from practice.