Visual Micro pedagogies is part of a research project and visual creation and educational, that I am conducting from 2016, and that integrated both in my daily life, as in my practice researcher, teacher and creative.
It is a process of permanent and constant display of diverse realities in the world that I am grouping, based on a series of visual narratives with which it interpreted and I relate to the world, through the camera and especially about how I learn of the world, in the world and through visualization of the world.
To do this, I'm going to group in what could be considered to be thematic or narrative, different forms of knowledge and construction of the world, the environment and my daily life in the spaces that story:
The need to observe all visual, researcher brings you to find scenarios in the world with enormous symbolic power. Everything has to come together in space and in time for the development of these scenarios of confrontation. It's reflections on the images, on the nature of the images and on visual agents that cause them. Images that transcend the spaces and environments of knowledge and learning. We learn if we observe, we learn if we are able to see beyond and to build new worlds with a look aesthetic.
The researcher builds visual images with your camera, to deepen in the spaces and interactions of the visual relationship of elements, shapes, people, all for the purpose of learning, as a form of essential knowledge. The city is a privileged stage of that learning, about us and our relationship with the world, there is a consolidated tradition of photographic work in this regard. Our gaze differs from them, timidly in the simple fact, that is constructed as a permanent pedagogical look on our relationship and our steps on it.
The human being develops in fullness, inserted in an environment, in a landscape, irrespective of the features and settings for that landscape, the constitution of a human being on the empty space, it is inconceivable, as the empty just by itself constitute a landscape in itself, the landscape of nothing. Not so much the landscape of loneliness, you need of referents in contrast to generating the feeling of loneliness. In front of them, the landscape of nothing or the void materializes becomes palpable in the imagination, which is responsible for building experiences to come, to reconstruct past experiences, or create experiences that only settle in the field of fantasy, but they are so tangible and real as the other two. To the extent that these landscapes are built from pure thought, advance to the future, create something new, materialized freedom.
Under the influence of space, a landscape, the man is able to rediscover the referent of their existence, and their own personal identity, of their individual existence, we exist in the function of a landscape and a landscape. We are part of the landscape and through it, we meet our own inner being. Art is the great builder of landscapes par excellence, in our own existence, we face multiple vital landscapes, anchored in our earthly experience. Some of them, with negative influences and consequences frankly toward our becoming staff, other built to our measure, and with which we interact naturally and effortlessly, but the majority, we create them, build them through the privileged instrument of the imagination and art. The landscape has always been, since there is art, one of the main obsessions of the artists of every time and place, linked to that facet of the exploration of the I and his situation in the world, both in the world possible, as in all the worlds impossible, all of them as real, as the creative imagination is able to arrive, and that the human being needs and looking for the perennial.
The end result is the construction of an educational process, educate is to build landscapes, but also is judging them, rebuild them, observe them, make them our, to project ourselves and to recognize in them. Education should foster, be simple facilitator, through the vital experience of art, understood as pure experience innate in every human being, the construction of the landscapes that every human being needs in the development of their experience of life in the world and the search for its own identity.
Artistic environments, or environments for art, are a source of inexhaustible visual research, due to its special characteristics and its aesthetic development in space. Museums, galleries, art centres, urban art, art festivals, exhibitions, etc. articulate stories about as presented and displayed the art in the circuits and environments of art institutions. From the photography, we enrich the knowledge and reality of these environments and we incorporate the own environments and the manner in which we receive and we visualize the works as key elements in the aesthetic experience and reception in the viewer, based on these parameters and elements of mediation, without forgetting that the reception of the art always is mediated.
The display of the space, the built environment, of the gaps which were inhabited, generates a series of aesthetic, symbolic relationships and experience very intense. This type of relationship becomes privileged ways and opportunities for photo display that allow us to the exercise of careful observation with criteria essentially aesthetic. Link, empty spaces, lights and shadows with the elements of the building, we exercise in the learning of the observation of the world and create new stories regarding our relationship with those spaces, with the world and the evolution of time.