Of course, with repetition, it becomes possible to predict water behaviors to some extent, but there is always an opening to the unexpected: the impact may be stronger, water may have more salt, it may not reach the entire plate. In the aesthetics of the work is considered this action of chance, the unpredictability that makes the results vary. On the other hand, the participation of time arises both in the way these images appear at first - in capturing a very short temporal interval, an instant - but also in a longer action in which time changes each of the plates, revealing salt crystals, making it possible for them to remain mutated.
In the two photographs that are part of the work, the artist appears and the representation of creative action. Can one discern in these elements a quest to confront the process with the object?
I do not think of these photographs as a confrontation, I see them more as a necessary framework - an access to the process that allows a better understanding of the objects and that affirms their presence in a direct interaction with the sea. By including these photographs I try to change the way we look at the pieces - instead of thinking that the artist would be responsible for creating the effects present in the images, the idea is to put it behind the image and in the middle of the landscape. The landscape ceases to be the passive subject, represented, to be the main creative agent. The artist becomes the vehicle that carries the image in power (a black plate) and offers it to the sea for it to draw.
Can the public submerge in the object as an active agent and enter into this creative concept of the work?
Given what we have said before, the fact that there has to be some reconstruction on the part of the public, in order to understand the process, can give an idea of involvement through active perception. I think this sharing and dynamic composition is able to summon the public in some way to this fluidity of the work and eventually make it foresee a flow of images through the continuation of the multiples (of the photographs and heliographs) that I present.
Belonging to a culture with a long artistic reflection on the sea, how can one rethink this element?
The sea is an element materially and historically very rich. I relate to this long artistic reflection of which you speak in the way I look at the sea and I feel the same appeal of the horizon, the will to enter the sea, the infinite field of exploration.