As cities grow, they also leave behind-in the midst of desolation-pieces of their selves.
That forgetfulness, that neglect, is also part of their history. In spite of this side effects, as society, we keep on turning our backs on this situation. In Argentina, a single decision ended up with entire towns being thrown into oblivion. This decision had to do with the lack of financing and the subsequent closure of some train lines that connected the cities with the surrounding towns. The remains of this measure are entire towns in which their few remaining inhabitants fight for their memory, for their history, as they embrace to an impossible hope. Each one of these inhabitants are like cathedrals of nostalgia that are erected in the middle of loneliness. They are immersed in the silence of their own fragments. Inhabiting incomplete, suppressed stories. But they are still there. In the center of an imaginary scene ; from the bottom of a space that covers them. Portrayed as guests in their own world. Gently discovered in their silent insinuation. They are hidden faces, hands that look out into mystery, bodies that are concealed in their glasses…. These cathedrals stop the scene at the right moment, at the almost unnoticeable instant in which things, each in its own way, make us a promise. These images try to place their selves on the threshold of an event. Raise a question that questions the main characters, but also the viewers, who can only confirm their presence. Yes, we are here. And we can't stop seeing each other there. It is a proposal about the existential loneliness of the contemporary world. With the staging as a resource deliberately devised to increase the narrative capacity of the photographic work, bringing it closer to interpretive codes more in line with the language of cinema and theater than strictly photographic, in the serene and disturbing scenes I propose the resolution of the past moment, the situation, the recorded event. Thus, those stories will not be over and the characters that compose them will continue to be endowed with a certain enigmatic quality that will suddenly make them visible and bring them back to life. We do not know who they are and, above all, we do not know what is happening to them. We do not know what could have happened to them or what will
happen to them; they remain in that kind of interrupted artificial time, an open time, a question mark, an unsolved mystery, an enigma. In these photographs, everything seems to have been placed in a kind of calmness in anticipation of the tragedy. The theatrical aspect of its scenes recreated in the silence, stillness and intimacy of the night places us in the role of the public in the shadows, in the stalls of life, with the
representation before us already underway, as attentive and silent spectators. The characters that are there, on stage, performing for us, in the illuminated area, under the spotlight.