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New Reality
José Ferrero knows that photo-graphy ¡s not objective, and that it cannot be. He not only knows that, but it was probably that fact that led to his dedication to this expressive médium since he considered him-self an artist at heart. It is true that photography testifies to the reality that it represents, but by analogy this representation becomes metaphor.
All the technical information and the professional resources of pho-tographers like José Perrero, all their knowledge and efforts are channelled into the creation of that "other reality" evoked by art, and the emotions it generales. In a moment of his work, José Perrero fixes his gaze on the spa-ces cióse to man ¡n his day to day reality. Walls, traffic signs, barriers, posts... and he puts them through an examination and analysis that modify both their physical aspect as well as the atmosphere and space that surround them. Their material nature ¡s transformed; the confrontaron of light and shadow highlights volumes and créales new shapes. The image takes on a sepárate magical and mysterious nature. These are images of something dlfferent to what has been portrayed and seem closer to abstraction, despite the physical evidence.
That self-contained world of objects, of an ominous appearance enhanced by aesthetic virtuosity, later gives way to another more transparent, distanced world, where space plays the lead, and
where man appears as an element of subordinaron, counterpoint and reference. At times, the same space remains in a series of pho-tos, where time and characters vary in the same sequence as if by accident. Occasionally, the same empty space produces a feeling of desolation, the giddiness of irreparable loss that evokes the being and non-being of mankind. And the camera is a testimony to space, time and to the flow of life, thereby creating a new reality.
Ruüén Suátez
Frorn Ihe Inlernalional Associalion of Art
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