Espacio Roca Umbert
Often an artist is known for his or her work, but rarely do these artists reveal their creative process. From this interior world, the artist uses photography as a tool to immortalize intimate moments from his work and from places that give him energy and evoke ways to feed his imagination. He will use this as a record of where he wants to go and where he is coming from.
As images become more democratized, it has become more difficult for us to see at first sight, the true intentions that move a person to take a picture or make a drawing or painting. Everywhere around there is proof that makes us think we have to photograph every event, it is not necessary to give examples of the degree of schizophrenia with which old genres have been redefined (portrait, landscape, costumbrista scene, still life …). Every day, millions of unfocused sunsets, self-portraits in a fogged bathroom mirror, workout scenes or colorful plates of food varnished with the glamor of neo-gastronomy flow from our social networks.
In this new reality (undoubtedly fruitful and inspiring) artists have to insert our images, regardless of their nature or the language in which they were created. We can sculpt, make installations, photographs, murals, videos, performances … every artist must deal with this new fortification made by images of all kinds: public images, private images designed to be made public, processed images, images like traps, polished images …
Within this murky photographic world resists a type of photography that doesn’t scream, “Look at me!” It is a photograph that, when looking at it, one knows that it was not taken in order to entertain anyone, and least of all to the masses. Neither was it created to record a cheesy, tasteless moment, or simple aesthetic experience in a flashy way. Within this type of images are the photographs of Sixe.
Apart from his multifaceted artistic production, I have always considered him a painter, a complex one, but a painter. I clarify this idea since I believe, with all conviction, that it is more interesting to observe and analyze his photographs from the prism of his paintings, so far removed from realism and all mimicry without any kind of “atmosphere” captured in a photograph. However, his painting is dense and atmospheric, woven with the energy that is only palpable in some places – an energy that no camera can bring to our eyes.
Photographs taken by painters do not come from the same place as a traditional photographer, of course. A photographer can make a preparatory drawing to make a future photograph, but a painter like Sixe does not necessarily take a picture so that it can be used as a sketch or any other type of visual arts or compositional tool.
Photographs by an artist like Sixe contain something ritual and although his need to photograph is as powerful as that of any person, the difference is that it has no communicative purpose, not even a documentary one. There is something beyond the function of the image or its photographic quality, something stronger than any symbolism. We could define it as a “support” for his paintings, the base of a column, an invisible base that keeps his painting levitating, several feet off the ground.
Con motivo de la exposición Un Mundo Dentro De Otro Mundo, se publicó una edición de 600 fancines con fotos por Sixe Paredes y texto de Daniel Muñoz.
Un Mundo Dentro De Otro Mundo
Edición de 600