In Japan, for centuries, aware is a deep emotion felt in nature to be transmitted to others to be at peace with it. The most insignificant event can become an aware. The least that happens it´s crucial, to the point that if it’s not, the reality itself would collapse (HAYA, V., 2013)
Originally, aware referred to “lament of things” and was understood as the sadness emanating from the world for its ephemeral nature. Another concept related to the passage of time and essential to understand the Japanese aesthetic is wabi – sabi, which refers to the beauty of imperfection, of constant flux and impermanence of all things. The wabi-sabi occupies the same position in the Japanese aesthetic in the West occupy the Greek ideals of beauty and perfection.
The traditional way of telling this awe (aware) the rest is to write a haiku (short poem), to the point that no one has the right to write one without feeling a aware before. In turn, it is said that if an aware is not transmitted, it’s like it has never existed.
The person receiving the shock is like a musical instrument that vibrates and sounds under its effect. […] At the end, it’s not the poet who writes a haiku, it is the world who writes it. (HAYA, V., 2013)
The goal of a haiku is twofold; accurately reflect reality and eliminate expendable items. A poet must be able to choose from two to four elements for transmitting through a aware haiku.
In my view, everything described corresponds well with my understanding of photography. Indeed, for me a haiku is clearly a photo of when photography didn’t exist.
That’s why the photographs included in this portfolio are intended to portray the shocks felt by me in nature. Accurately reflect the time, but also try to capture the invisible relationship between things and the passage of time on them.
In an effort to delve further in this direction, I have included the time factor to many of the photos by using long exposures to capture somehow the soul of landscapes, compressing a fragment (time) of its existence in a single image and showing something that is always there but we can’t see. Hence a new parallel to the eastern world arises because, for it, the time over beings, even inert, reveals the sacred.
The photographs haven’t been digitally altered. The result, except for minor adjustments needed in the digital process of RAW files, is faithful to that obtained in the camera at the field. Nothing has been added, deleted or modified digitally.