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The jump to nature

Miguel Mosquera Count

Project year: 


Integrated Project

Sometimes, artistic processes are born under the aegis, or drift towards the intimate exercise of tidying up and cleaning. Too much noise, too much concept, tide, life. Acquired thing, which clouds the understanding of oneself.

The brush serves to save things from chaos.

Shit Chinese landscape painter, s: XVIII

The Final Project of Miguel Mosquera Conde; The jump to nature, for the Higher Degree Training Course in Photography, links his speech in a beautiful way with the genuine need, as he explains in the project report, to question and heal certain attitudes or work processes inherited from his professional life, vital crossroads

He often then goes on long walks through the forest that promote reflection. A new way of relating to work that, over time, leads to a modus operandi in which it finds meaning and fulfillment closer to its own.

The result of this new thinking is the proposal O salto á nature, where Mosquera takes advantage of the excuse of an end-of-degree project to explain the game board. In this way, he incorporates fiction, in the form of a new literary publisher (Glifo), which makes him the professional commission of several photographs for the layers of five titles that they intend to bring to the market, in Galician translation and close to the Nature Writing genre.

It is starting from this magnificent playful premise, where the project reaches a dimension of uncommon depth. Starting with the readings and conversations with the chosen books, the frequent visits to the place of Tronceda, where perhaps the idea of photographic portraits arises to give new life to the titles or, in that meeting that he always does with some artists for whom he feels a special fondness and, which Mosquera places in the sphere of "visual and conceptual inspirations/debts" and which are: Pierre Gonnord, Daniel Spoerri, Miguel Mosquera (his father), Hamish Fulton and Gilbert Garcín.

The depth dimension that I mentioned before, is provided by checking the traces of richness of conceptual and formal thought that the project is achieving. The lines of meanings and implications of the artist himself appear, in a palimpsest where the story holds, for me, its truest value. I'm talking about the meticulousness and taste when it comes to maintaining the entire property of the fiction; the invention of the publisher, of the name and design of the brand. The multiplicity of functions, being at the same time a photographer, designer, editor, contracted artist, printer or, wood craftsman, when he offers towards the end of the product, that magnificent collection case and thought out to the last detail to contain the edited books. The project is accompanied by delicious documentation that, again, escapes the framework of academic requirements: in addition to the conventional study plans for each photograph, there are sketches and conceptual maps, itineraries (with a relation of kilometers and costs), and a variety of technical details that Mosquera is growing closer to the relationship he maintains with the models in the photographs, the fact that he commissioned these lines from someone else or, the accuracy of the conceptual and photographed detail that closes the books and, like a mirror, creates a relationship of proximity where they give the game, the irony, the critical thinking and, again opening the game for another story within the story.

And everything spins!

Text by Pablo Otero.

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