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dimensions of the same
pantone water
water moods
nostalgic
powerful
anarchic
magical
finding
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My real moments of photography transform me.
Sometimes knowing that I don't know is key.
It bothered me before. Today it fascinates me. It allows me to go places where I know I can only go not knowing. And there I launch myself without any guide other than the senses. Reason walks away and I hear and see more. And there I participate in another way. I merge with the object of my lens.
Silence doesn't stun me.
First it was the color. Observe carefully and feel. I called it 'Pantone Water'.
In its essence, the emotion aroused by water is the reflection of what someone who looks at it can feel.
But is it possible that there are colors of water that do not yet have a name? I begin to recognize new colors.
And although the water takes the shape of the element that contains it, I start to separate the shape of the element and I'm going to understand what happens in this cutout that I choose. I begin to discover that there are anecdotes in abstraction. And it moves me. So I give myself to the search for new colors and new names.
In the process I get to know myself: if the photo is not the true reflection of that memory, even if it is beautiful, I cannot choose it. I feel like I'm somehow cheating nature.
I'm not interested at this time Nor does it motivate me to show clearly dark emotions. I know them and I prefer others. I am not attracted to what tries to attract attention. It's not part of my quest.
These are images that I distinguish as parts of a path. Simply because they have to do with what I believe and feel. They do me good. And I am aware that I photograph them to share them. I hope they are good for others.
All emotions and discoveries that are some ways of learning.
Whether they are moods of the water or mine, I don't know.
The series are different but in all cases I was contemplating dimensions of the same thing.
I didn't just see them. I found the color. Then it was a mood that prevailed. And finally the discovery: here I understood that "that little drop that lurks in the spider's web gets along with my soul" (Jorge Luis Borges)
I am grateful to come across all these images, and at the time of taking the photos I found myself trying to reflect the emotions I saw.
Constanza Oxenford / FARIAO
About Constanza Oxenford's Photographs
I met Constanza's work a few years ago, in the context of one of my clinics. At that time she concentrated on recording feathers in free fall, in a random search for organization of shapes and color. There was something playful and investigative about the possibilities of transforming the real and recognizable into abstract graphics.
That work now derives in an intense experience of observation. The attraction exerted by nature -specifically the water, the seas- allows her to investigate the edges of realism in direct photography. Cotty advances on the surfaces, colors, brightness and movement of the great masses of water to once again take her record to the limit between the document and the abstraction preserving the possibility of recognizing reality, the origin of that image. Thus, the seas are seen as palettes of blues and cyans, or as rough surfaces similar to the skin of an animal or the landscape of an uninhabited planet.
As one more step in her photographic drift, the artist is also fascinated by the webs woven by spiders in which drops of water are trapped. Now these are pearls, necklaces or fringes of a luminary.
Constanza Oxenford's works travel along the edge of photography and its possible relationships with the pictorial/graphic, and create a visual metonymy in which a phenomenon can be defined or revealed as a very different one.
Alberto Goldstein