My photographic artworks are usually over digital support. My main subject is people, primarily portraits and figure studies. I try to provide to them with a pictorial status, drawing previously some sketches. Also I employ some resources of digital manipulation with an artistic purpose. All the pictures are grouped into the five left categories. The personal samples that I introduce in these sections are the product of a computer photo-inphographical working process, using the Adobe Photoshop software. The originals of departure are black and white pictures digitalized in grayscale and manipulated in RGB color mode according to the next digital operations sequence: - LIGHTNESS - MORPHOLOGHY - CHROMATIZATION, and - TEXTURIZATION. The ideological factor that supports the content is attempting to get an emotional relation with the artworks, to the same through establishment of a "seduction role" between image and spectator. The result are some attitudes and repertory of poses, oriented to transmit a contrasting connection between two realities: the material and daily, own of the common objects that surround us, and its warm and humane contrast.

The photographs offered here constitute the end of a journey through the entire photographic medium. Behind the camera, included in the scenery of the frame, a video camera was set up, which resulted in a new framing of reality within a wider fiction. In the end, that first film led to another, and both produced a trilogy: the illusion of flat surfaces gave way to the illusion of the depth of open spaces, and the absence of textures in a flat presentation of the image to the false material nature of the computer aided treatment of the original material. Alfredo González, as artistic director, has become involved in that fictional trilogy, beyond its original role as a pretext. He senses, in some way, that the mystery is still there, and he prefers to pursue it through the photographic process. Shooting is always a ritual, and continues to be so during the moments prior to the take of each shot, when the mysterious tension becomes unbearable. This creator manages to detach himself and, without really knowing how or why, allows the shutter of his camera to capture the clarifying instant of the mystical rapture of the models, the point of no return on the other side of the looking-glass, as if would be the other side of the mirror. And in this way, a reflection of the reflection, a re-framing of the frame that once reframed the frame of a frame, the photographic process offered us in this exhibition allows itself another turn of the screw. Fully aware of the semantic charge they carry with them, the images follow a path of slow alchemy, which begins at the moment of the shot with the interaction of light-emulsion, continues in the great retort of the developing fluids, and goes on to lose its analogical attributes in a process of digitalisation, only to finally regain them during the shooting. This allows the artist to totally restructure and mix the base material. Thus, flatness gives way to a virtually material form, simplicity results in an exacerbated barroque style, the obvious once again takes on a meaning, classic compositions reconvert into theoretical models to be constructed, and the naturalisation of form becomes pure geometry. The models, which are always feminine, observe us from the other side, locked within the frames, as if the artist wished to exorcise them, or leave them inside the circle or ellipse, as if he were afraid deep down to face his own evidence.