The photographs represent scenes inspired by pieces of arts, from cinema to performance and figurative arts. Torn from their original context and recreated within a new frame of reference, the scenes acquire their own speculative results.
Gestures, bodies and their narrative potential are the dominant object that sustain my work. The richness of semiotic features of bodily representations have emerged from the unconscious embodiment of space and time by the original author; exposed as pieces of art, they have been emotionally caught and memorised by the spectator (the photographer) according to his own perception and bodily experience in the world. Representations which he remembers, whose contexts are lost in the haze of memory.
The landscapes are here the background where the symbiosis of participants’ bodies and environment happens as a semiotic game of transformation of meanings. Echoes of undefined actions, emerge to question the questioner, leaving an emptiness of answers, the ennui as a sullen shadow suspended over words and time. “The emptiness of the heart facing the emptiness of time”, as Emil Cioran defines ennui.
The apparent suspension in time captured in the photographs reveals that the key to the expanded time, the flavouring of time as the manifestation of its duration, lies definitely in the process of its realisation.
The production of these images follows in three phases: a previous study and the decision about the questions that should be raised; the photographic capture design, involving the search and conception of scenes and figurants; and the selection of figurants, according to the defined objectives of the project.
The interpretation of the photographs should be a construction of dismounting reality and uncovering the mystery, leaving space to new perceptions.

Javier Diaz Saiz