all I can do, the best I can
Like most photographers and visual artists there is always a starting point, either a definite turning point or a gradual slipping into the habit. I started on the first kind. My mom´s Brownie Kodak was on a shelf and I borrowed the machine and shot the factory at Calle Aragón in Palma next to us, a derelict filature works that supported on its side massive wall a painted bright orange and yellow TRINARANJUS advertising bill board. I got a severe punishment for wasting precious film and from then onwards, I always got the hang of it, I wanted to take photos. I got into it gradually and although I thought I wanted to paint… I always ended with a camera in my life, later on, moved to London and got amazed by those fabulous commercial photographers that worked like titans in those grand studios, They even made lots of money there. I paraded across several jobs as studio assistant and then went self employed… Those were days of SINAR 10”X8” and posh analog cameras and E-6 labs working 24h. In the eighties there was so much work in photography that even apprentices such as me lived off the remaining crumbs the big guys couldn’t be bothered to shoot.
I was keeping my visual diaries an drawing my dreams that I later tried to translate into photography. Ian McKinnell, my then employer, became much more than that and founded my modus operandi somehow unusual by overlooking my technical lacks guiding me into the best results. He and Liz were always of great support. I organize photoshoots off studio hours at his premises he generously allowed me use. I processed my 120 rolls and printed in a darkroom around Primrose Hill N1 that you could hire by the hour,,, A luxury! I created my first portfolio.I had it book bound and in 1995 I was asked to submit my work at the Royal College of Art. I was granted a place to attend to that amazing MA program under Michael Langford, Peter Kennard and later on Olivier Richon. Best creative time ever! I was super-privileged and understood what the difference was between fine art photography and the rest of photography… I successfully graduated in 97 and stayed on working at the College student union.
As for most, life has it its way for each of us and not the other way around. I was discouraged to continue in the commercial and gallery photography work when i moved back to Spain were my work didn’t seem to have any feedback in no respects and had to move to other careers. I constructed, I baked, i cooked, I swept and I project managed in a solar engineering firm over 6 years but of course… the urge to shoot and create was always there. I also have to admit that I was not good taking in the digital transformation of photography… My equipment went redundant, processing got scarce or impossible and everyone around became a photographer due to the proliferation of decent cameras… photographers as ballerinas and poets went in the shade. I went in the bottom of a well. day after day. seeking a way to climb out of the solitary confinement able to see the light out there… how to find a way bak home?, to a place that meant something to me not to the new World of data and succedaneum . how to make sure I am to do what I am good at?. How to find the place I can govern and be able to be myself? I was told many times by superior beings what to do but I had no instruments to put those tips into practice. Once, Eizan Gotto a Rinzai zen abbot from Riotakuji toke me by the shoulders enticing me to pay attention. then he got his hands in front of his face and said; look, you Sashin ka (photographer) and pretended to hold a camera in front of his face, close his left eye and clicked the imaginary release button. and faked a CLICK with his mouth, then the imaginary camera disappeared and then gently brought his hands on his chest. then said, “that´s it”´that was his revelation, the one I always knew, I then remembered his lesson and climbed out of the well. I am now and till the day I die a PHOTOGRAPHER and as in front of High Court Judges, I solemnly swear oath to this postulate,,, I wish to take photographs and let the rest of the World consider them good bad or passable but I shall strive to do the best I can and make sure the work I did, the one I am making and the one to come shall be ONE. This is why I keep shooting.
Date and place of birth: 1964 May 31st in Palma de Mallorca Spain
Address: Calle Castellet nº 22, Felanitx, E-07200
Contact: 0034 626 758 825
1997 President of Student Union en Royal college of Arts, Londres
1993.1995 Studio work at Mckinnell photo studio, Londres
1989-1993 Self employed photographer, Barcelona
1995-97 Royal College of Arts, MA fine art photography postgrado
1984-86 Escola Massana, Barcelona, diseño
1983 City Lit, London, Sound and Image
1982 Lycée Espagnol, París, COU
Domus, Ardi, Casabella,Vogue, Coté Sud, Blue Print, Architecture today, Directions, On, ObserverMagazine, Creativity News, Mac User, La Fotografía, Daidalos, Indipendent Magazine, building Design, El País, La vanguardia Magazine etc…
2018 Centro de Arte Guadacorte, Algeciras, Dypthics
2018 Galería Nando Argüelles art Project, Algeciras, Thresholds / Umbral
2016 Galería Nando Argüelles art Project, Algeciras, Stil lives
2008 Galería Miquela Nicolau, Felanitx, Mallorca, Flasks
2005 Galería Costart, Porto Colom, Mallorca, Requiem for Bagdad
Gyumri Bienal, Armenia, Phography work
2000 Gallerie Hélene Chantereau, París, Rael Livre de Prieres
1999 Espai Gurugú , Felanitx, mallorca, Dog Food
1998 Galería S´escala, Felanitx, Mallorca, Portals
1997 RCA, London, Summer show
National Portrait Gallery, London , Kobal Portrait Award
Royal Photographic Society, Bath, portraits.
Royal college of Arts, Final degree show
Gassworks gallery, London, Sad Show
De Singel, Antwerp, Belgium, In search of Public Space
1996 Architects Asociation, London, Elbaz shoots T. Frettons work.
Hockney gallery, London, Roots of my Garden
1994 RIBA, London, Good to Eat.
1992 Fundació Miró, Barcelona, Germinacions
Cercle Comtal, Barcelona, Visos
1990 Metro Cinema Gallery, London, Color and Movement