Boundaries and shadows, from the ‘The invention of nature’ series
pigment ink photographs on cotton paper on a wooden frame and framed in a methacrylate box
83.5 x 118 cms each (framed)
“The usual tranquility of the countryside seems to have been transferred to the city. Silence is now common in both places. A silence that sounds uncomfortable, sometimes alien, but necessary. As Saint Ignatius of Loyola said, ‘in moments of crisis, stillness’.
Stillness is the silence of the body. Meanwhile, nature takes over the urban landscape, growing without limits, demanding attention, a place, care. Bounded or free, it finally appears with the defiant force of its fine stems. Shelters of diversity, as Clement would say in ' The Third Landscape'. The intangible values of this new landscape are infinite and sometimes they imply a journey to the most intimate part of the human being, his memory, his desires, his emotions, his identity.
‘Everything was a clamor of hearts and looks. And the air was full of distances, neighborhoods, villages, banks and plains of spikes and poppies’ (Romero Murube, ‘Silencios de Andalusia, p.241).
I would like to imagine a future rich in time. I've tasted the luxury of being able to arrange it. What's the hurry? It's time to stop and take stock. To every age, a landscape. Built, deconstructed, rebuilt. A silent landscape, elegant simplicity, like perennial wisdom, where nature is the protagonist, the human presence is relegated to the heart and technology is at the service of the Earth and humanity.
Let's start with food to combat change, as Satish Kumar would say in his book ‘Tourists or Pilgrims’: "A pilgrim is someone who sees life as a sacred journey, who sees the Earth as a sacred home, who sees the universe as a process”.
Every day, work with your hands and tell the truth."
About the series
“In front of my house there were some zelkovas, still young. Their leaves were glowing in the rain. One Tuesday, Takashi Kojima called me.”
Just one of the constant references to nature in the urban novel. In the words of Reyes Abad, the description of a city through its natural landscape is an exercise in aesthetic and environmental health, in oxygenation of that awareness that sometimes just needs an impulse to roll, to sprout from among the buildings and crack the asphalt under our feet. Nature continues to coexist in those territories, it does not disappear even if we deny it because the city is a millefeuille of layers with multiple meanings, with spaces, holes, fractures, large surfaces, ... and there this essential matter is exhibited in the form of a thorn, of a trill, of chromatic intensity, of a blade, of a footprint, of mud, of aroma, of shade.
Whether enclosed or free, finally nature appears with the defiant force of its fine stems, simply demanding a little space, water, air and light.
Macarena Gross (Madrid,1982)
Macarena Gross Ariza es fotógrafa e investigadora. Máster en “Ciudad y Arquitectura Sostenible” (Escuela Técnica Superior de Arquitectura de Sevilla), Máster en Fotografía Profesional (EFTI, Madrid). Su trabajo artístico se centra en investigar la relación entre la fotografía y otros medios artísticos como una herramienta urbana y de sensibilización. La relación entre naturaleza, arquitectura, paisaje, medio ambiente y mística son temas en los que está interesada. Siempre en busca del nuevo papel de la fotografía en el arte contemporáneo, sus imágenes surgen de la intersección de los diferentes medios.