Esperanza. (HOPE)

Abraham Calero

Edition of 10 copies. 

29.7cm x 42.02cm

Framed £450

Unframed £225 - email us for details of the unframed print

Inkjet print with ultrachrome k3 hdr pigments

on Epson Hot Press Bright Paper. DIGIGRAPHIE

Abraham Calero constantly experiments with photography, looking for new formats and proposals. International fashion companies have commisioned his work and he has had his photography published in magazines specialising in fashion, diving, architecture and the environment.

His photographs have featured on bookcovers with the Destino and Moixonia publishing houses, and took all of the photographs in the book entitled "20 icons of the twentieth century" curated by Pedro Mansilla.

He is also a marine scientist and a professional photographer who has exhibited his artwork in Barcelona (Municipal Institute of Education Barcelona), Palma (Berlin Gallery) and Madrid (VIVart).

Website: abrahamcalero.com

Facebook: abrahamcaleromarimon

ARTIST STATEMENT

I make portraits.

I think of images which cannot be created by just pressing a button. Images that need to age, to be degraded, to be broken... The processes of wear and destruction must be stopped and controlled to give permanence to the artwork.

Portraits. Pictures of what terrifies me, what I want, what I miss. Pictures of the people around me, their zest for life and anger, their passion and frustration. Pictures of live objects or with past lives.

I visualize the piece throughout the process, researching until I arrive at the imagined image, and sometimes, when it is finished, I look at it and think, " there is something here that I have not done". It is for those few hours in which everything is produced, for those moments of fusion with something that 's not me, and that in turn is more there, more personal than I can consciously contribute.

I believe in what I create. I try to get inside the photographed scene, beyond capturing the reflected light... whereby deepening my own feelings.

I use reason to give coherence and emotion to enliven the work... but in each artwork there is a struggle, not always balanced, between intuition and knowledge, between the rational, the visceral and the emotional. The artwork is no more than the physical result of the process.

I'm not interested in photography as an end, but as a source, as a support material. The photographic language is the basis on which my work is based, the starting point on which I build my images. I manipulate, break, burn, hit, dye, sew and age paper by hand until it resembles what I imagine or feel.

I work primarily with human emotions, mine and those of others, especially those that are non-verbal. And rather than for the finished work... for the process itself.