Disease

Disease

My life as a sick person began the day I got married. Everyone seemed to think that I should not wait to tie the knot, as I was thirty and single, which was the same to say that I had already become a spinster. Family matchmakers usually mistake similar lifestyle and habits for real connection. Besides there’s no reason to stay alone if you can share your misery with someone alike. We both are aloof, old-fashioned and quite unexciting people. It was pure common sense to pair us and it naturally happened in my sister’s wedding banquet. Obviously, they were in a hurry to get rid of ‘my problem’ and I couldn’t say no the popular demand.
We danced, we started to date and we finally got engaged.
There was nothing actually wrong with him, although he was quite down in the shadows: a laconic, methodical and flat forty-two year old man. The kind of man who gets up at half past six in the morning every day, and goes to bed at eleven every night, after rinsing his mouth and gargling exactly seventy times, not more, nor less.
The atrocious headaches started during our honeymoon in Benidorm and didn’t get any better in the following days. Imagine the bright sun, the holiday noise, the crowded beaches, the open-air dances and my brains smashed with an invisible hammer no matter the pain killers I was swallowing down like candy.
Although the bizarre auras and disturbing delusions caused by migraine I managed to keep the house clean and tidy, to cook, iron and do the groceries without going mad.
After our first anniversary everyone started to wonder about the babies. We went through the procedure twice a week, but the babies didn’t come and we stopped trying when I reached my forties. We got twin beds and watched television.
Neither of us had great expectations about the other. He was noiseless and respectful, he never complained about my aches and pains and I stopped longing for a more communicative and affectionate husband as a newly-wed, so the marriage worked fine according the standards.
But one day he got up and in the middle of his morning shave he told me that he had a business travel to Malaga that same morning, the first in twenty years of marriage. He left with a small suitcase and a hand bag, he kissed me and announced he was coming back on Sunday.
I spent five days alone, totally migraine free. I was bursting with energy, I wanted to go out and buy new clothes, change my haircut and even call old friends, go to the cinema and dine out.
I was so blissful, so thrilled, so elated that took me almost three days to do the math and establish a direct link between despair and my husband.
An embittered flare up of animosity traveled through my entire body: he had been sucking my energy from the very first moment we met. I hated him, I hated the people who blackmailed us into marriage and I wanted to clear the venom out of me once and forever.
On Saturday night I seasoned his soup with insecticide. He survived and bashfully dismissed my crime as if it were a trivial, marginal event. At the hospital, they asked him about me and he alleged he had been away for a week and already felt sick in the journey back from Malaga. They declared the whole thing an accidental poisoning and I forbear the stabbing headaches as part of my punishment.
Maybe happiness is not for everybody.
One should be grateful for the small givens without asking for more.

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Farewell, Miss Ventriloquist

Farewell, Miss Ventriloquist

I’m pretty sure that the eyes are erogenous organs and erogenous zones. They touch, they taste, they talk, they sing, they smell love and danger, they reach the untouchable, they give a name to all things left behind and disowned, they build cathedrals of meaning and they are the supreme artists of inquiry.
I love so much and so dearly the foreign worlds you bring to mine, naked from noise and clutter so I can touch them through this window of phobic convalescence, and let them in and touch me in spite of ancient terrors and disturbing memories, in spite of my reluctance to let myself be touched and embraced. I so much appreciate the simplicity of your glance, free from any intention to sell anything, and I have been privileged to be the fugitive voice of all those strangers, and most of all, to play your voice for a while, as if I were you doing the click, or even better, as if we were doing it together as a team.

My whole vision of the world has changed along sixteen weeks of walking your eyes, instead of your shoes. And it has changed forever.

Thank you for this bewildering joyride.
From the bottom of my heart.

Paz Puente Greene

From the bottom of my heart.

Heart is a weapon the size of a fist

Heart is a weapon the size of a fist

I have a real soft spot for some strangers that look straight into my eyes and cry for help without a word, without a tear, without stopping to say ‘hey, you, I’m completely lost and screwed up, let’s share a beer, come on, I’ll pay the drinks… Don’t know where to start, let’s say I’ve been fired from my job, some days I want to kill my wife and cut my children to pieces, but I’m a good guy, so I will probably shoot my head off with my brother’s gun.’
Neither of us stop, I go home as if someone had hit me with desperate eyes in the middle of the stomach and food tastes bitter and I somewhat pray for my work to be like one of those cardiopulmonary reanimation devices of emergency rooms and ambulances. One capable of shocking almost dead lives into hope or into wonder or into awareness or indignation or into sweetness, or into love, or into innocence or into each other. Again.

On the photographer's identity

On the photographer's identity

I start with nothing and I try to make something of it. That’s all.
Sometimes I get too serious and transcendent about my work, but to say the truth (or at least something truer), taking photographs is the only way I’ve found to take my way-to-perfect-and- way-too-rigid-to- be- real inner child out to play.
He doesn’t care a shit about framing or lighting. He sees Mickey Mouse where the Aesthete sees walls to paint. He goes for love and wonder hunt and I should follow him more often in his shy, yet powerful desire to begin now, again, all over, from pure scratch.

Public is the new private

Public is the new private

Trying to dig deeper, under and beyond the obvious meaning and to make the girl the center of the photo, I suddenly understood Barthe’s concept around significance.
“What is significance? It is meaning, insofar as it is sensually produced”.
There’s something violent in this photo, a punctum, a word pulling images out of our minds and before our eyes. An image that is not the girl, but in the girl, and takes us out of the gallery, out of the exhibition and into bed.

Trompe-l'oeil

Trompe-l'oeil

Paz would have loved this girl. Her true inner joy jumping from the eyes like a bouncy puppy with a frisky tail. A kind hearted woman in a tight black dress like liquid licorice candy.
She had the appearance of a trompe-l’oeil, emerging from the dirty walls, coming out from nowhere through an inexistent door. And if in that very moment Paz had been there and the dj played Cherry Coloured Funk, I’m pretty sure she would have asked the girl to dance.
Sometimes I wonder why she is unable to leave her fortress and come to visit us and join me in these safaris, instead of sharing our lives only through photos and mails. Why she thinks they are truer than life itself, and if that statement of hers is really a compliment or just an excuse to remain detached and disconnected.

A case of intimacy

A case of intimacy

The convenience and facility of digital photography has totally changed the photographer’s sense of commitment, and plagued the media of mere noise and marginalia profusely documented.
The trivia of everything is sucking the essence of life itself, in its most ineffable, ungraspable parts: those that can trigger the relevant questions and move us towards personal and creative expansion.
What made the fields, the rose and the fox special was not their nature of field, rose, and fox but the blossoming love of the Little Prince. It was (it is) a case of intimacy. Lawrence Durrell, in his Alexandria Quartet wrote that one can love a city only because a loved one lives in it. This is so true, and can be extrapolated to every place and moment in the world.
That’s how art acquires transcendence.

If you close your eyes, and look at this photograph, you’ll hear one of David Sylvian’s songs sweetly and sadly eroding my heart, soothing my mind from trouble, doubt and trouble and you’ll be able to touch the skin of the dawn or the sunset.
I will print it for you realize that all this too much, too fast, too many, too soon you are seeking for comfort is preventing you from noticing how close you are to the source of all wonder in its most pure form and simplicity.
My purpose is to make it tangible for you.
You’ll never imagine how committed I am to drag this beauty, all the beauty of the world to your door. Now.
It is baffling, overwhelming, almost impalpable, transient. And it’s yours to embrace. It’s my offering, my votive contribution, my alms fee, the ashes of time at the borders of what makes us one rather than us alone, or you, or me.

Evidence of the dearly departed

Evidence of the dearly departed

I saw several bodies missing from their shoes that night.
It was funny to notice how willing they were to go barefoot, or naked or disappear.
And how disturbing the symbols of their sadness were left behind, like Hansel and Gretel’s crumbs or as a proof that they once existed.
Every shoe reflected the personality of the departed.
People say that dogs and owners share their facial features.
I say that shoes are even more accurate regarding human character.

Angstlust

Angstlust

They pretend they’re having a great time, and they are, actually, in a perplexing contradictory manner: getting a big deal of pleasure from angst itself.
They seem to be aloof even from each other, although deeply focused on the efficient setting of the script, their part in the play, the image-based definition of whatever they believe about who they are and where they are going (motionless, maybe, stuck in time, and stuck in purpose).
I move around, dwelling in my invisibility, asking myself if unlimited eyes are enough to grasp what’s going on beyond the trivial, the false, the futile, asking myself what is connected to what in the room, struggling to surrender to the surroundings. Struggling despite the spirits I’ve conjured, running away from the ghosts of memory, striping off the layers of significance, imagining what would it be like to add or to remove any of the figures from the scene, just like limp figures in a wax museum, and in that blissful moment I find the elusive feeling of the right place, right moment, shivering through my veins, and I take the photo empty of thought, empty of guessing, not even concerned about if the whole act drop will still be holding your mind a second after your glance departed the frame. And I’m perfectly ok if it isn’t. Perfectly ok with that.