On arrival at locations I looked for a cardboard box, and opened a small hole isolating the exterior light. It is in this way that I have been constructing camera obscuras for two years in different places around the world. They form an image that I have been capturing, for which I placed a camera inside and used a remote control to take the photo. On leaving the location, the box was destroyed.
The result was a surprise, and the process offered the pleasure of a much slower photography, a return to the past, a slowing down of the production of images in which we are immersed today. The stage finds you and the little control gives place in the majority of cases to the hazard of the game.

For two years, I made a diary by taking photographs of everything around me, with the intention of transforming my exterior world through a small container: a Photomatón booth. The new realities, depart from an immobile machine that one finds in the middle of the street, and for one motive or another we have all used it. 
Little by little I was comprising this machine, which turned into the best of the electrical appliances of my life. Too many uncontrolled elements were intervening in the final result: the summer was highlighting the colours opposite to winter; there were days in which some considerate person , was using part of the appliance as an ashtray, and every Monday morning, the absence of liquid was creating a black stripe on one of the sides of the strip (fortunately at about eleven o'clock, the maintenance man came with new liquids, and the task could be resumed). I had several conversations with this man, and he did not tire of repeatedly saying that despite the antiquity of these machines, the perfection they could create was admirable . And while I listened, I thought that it was precisely the imperfections that made possible the final result.

Negatives
Negatives. 2007
I “Show me your old negatives”
El mundo de las imágenes digitales ha llegado rápido hasta nosotros. Este lugar de ceros y unos es interesante y pragmático, pero uno también echa en falta lo analógico. Lo digital ofrece inmediatez, pero hemos perdido la espera, la impaciencia por ver qué hemos hecho, por ver si la técnica o el azar han conseguido su objetivo. Estamos en un mundo en el que importa la velocidad, la prisa, convirtiendo la espera en una enfermedad planetaria.
La base de este proyecto se centra en recuperar ese tiempo de espera. Para ello, he buscado una imagen digital que necesite ser revelada, y por tanto ofrezca el tiempo de espera añorado. Comencé solicitando a personas que me enseñaran sus negativos antiguos y me los mostraran con sus manos. Una vez tomadas las fotos, las descargaba en el ordenador y las invertía desvelándose el secreto de esos negativos.
II “Memory travel”
En esta segunda parte, me sirvo de negativos encontrados en diferentes partes del mundo y cuyas imágenes fueron realizadas en lugares diferentes de donde fueron encontradas. “Memory travel” atiende al viaje de la imagen, a esa función mágica de la fotografía que ha permitido a nuestros seres queridos acompañarnos en carteras y álbumes allá donde la vida nos haya llevado.
El trabajo ahonda en la imagen trouvé, en la idea del encuentro y del desencuentro, en todas las historias que se esconden tras una sola imagen.
Utilizando como materia prima los negativos que han viajado acompañando a esas personas, los he mostrado y revelado.

Negatives
Negatives. 2007
I “Show me your old negatives”
The world of the digital image has come rapidly upon us. This place of zeros and ones is interesting and pragmatic, but one also lacks the analogical aspect. Digital offers immediateness, but we have lost the waiting, the impatience to see what we have created, to see if the skill or the hazard have created the desired result. We are in a world in which what matters is speed, the rush, turning the waiting into a planetary sickness.
This project centres on recovering this waiting period. In order to do that, I have looked for a digital image that needs to be revealed, and therefore offer the waiting period so longed for. I started by asking people to show me their old negatives and they showed them to me with their hands. As soon as the photos were taken, I put them onto the computer and unveiled the secrets of these negatives.

The IInd “ Memory travel ”
In this second part, I make use of negatives found in different parts of the world and whose images were taken in places different to where they were found. “ Memory travel ” focuses on the journey of the image, on that magic function of photography to allow our loved ones to accompany us in wallets and albums to wherever life may take us.
The work goes deep into the image trouvé, into the idea of the meeting and of the misunderstanding, in all the stories that hide in a single image. Using as prime material the negatives that have travelled accompanying these people, I have shown and revealed these stories.