The reality that the SARS-CoV-2 virus has confronted us with is overwhelmingly voluptuous. This may sound like a perversion, but there is no doubt that the defence against the virus, the quarantine, has driven us back to our basic needs and has even made nature much more present, as it has shown us how much power it has in the final determination of the world’s destiny. It is precisely our predation that has undermined its stability. The sensory is heightened in the face of crises like this one, and as a salvation we cling to the power of our personal and intimate imaginary. There is also a kind of psychic delight, a concupiscent morbidness that traps us in the likelihood of constant and unexpected change, even if we insist on denying it. That is what this photographic essay is about: the revelation and (psychic) reinterpretation of the re-encounter with the erotic as a means of escape towards the satisfaction of the pleasure that is now denied us in this new dark and apocalyptic world. The reality that the SARS-CoV-2 virus has confronted us with is overwhelmingly voluptuous. This may sound like a perversion, but there is no doubt that the defence against the virus, the quarantine, has driven us back to our basic needs and has even made nature much more present, as it has shown us how much power it has in the final determination of the world’s destiny. It is precisely our predation that has undermined its stability. The sensory is heightened in the face of crises like this one, and as a salvation we cling to the power of our personal and intimate imaginary. There is also a kind of psychic delight, a concupiscent morbidness that traps us in the likelihood of constant and unexpected change, even if we insist on denying it. That is what this photographic essay is about: the revelation and (psychic) reinterpretation of the re-encounter with the erotic as a means of escape towards the satisfaction of the pleasure that is now denied us in this new dark and apocalyptic world.

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About
I was born and trained as a journalist in Venezuela, where I had my first contact with art through reading and writing. Then came frequent contact with visual artists and photographers, a passion for good cinema and my first attempts at photography. But it was my move to Brazil that led me to take photography seriously, to buy my first reflex camera and to enrol in a school, the Espaço F/508 de Cultura, in 2004. I chose this school because of its focus on socio-documentary and artistic photography. After all, these are the lines of work that have always encouraged me. From Brazil I returned to Venezuela at a difficult time, in 2010, and I had the opportunity to work in media journalism, institutional photography and freelance photojournalism, without abandoning my private, subjective and free photographic work. In fact, when I am asked why I have abandoned literature for photography (although this is not entirely true), I answer with a simple word: freedom. In this transit through art, literary and photographic, I have won a couple of prizes, published some books, participated in some collective exhibitions and published photographic works in some specialised magazines in Brazil, Venezuela, Colombia, Argentina, Spain, Portugal, United States, England, Romania and Mexico. I have been living in the capital of Mexico since 2019. There I teach photography in a couple of schools and on my own, and I continue the struggle to maintain my freedom.