with natural space, no names, like a fertilizer for memory, like a ritual way of expressing the horror of what happened. Herrán is witness of an intimate event that happens in a rural zone next to the capital, where combats between paramilitary and guerilla groups once happened. That way, through the registry of the spontaneous action of painting a cross over a rock, or to integrate it with a pair of sticks found in the same terrain, discovers a universe of meanings that rises from these manifestations of anonymous pain, enunciating a major conflict that is present in all levels of society in Colombia.
Herrán is a patient thinker: he knows how to listen. The people whose objects he photographs are co-authors of his work; he gives them that category without letting them know. Herrán also has the ability of finding an occult side in objects that appear as obvious or insignificant, but that little by little unleash a wide range of possible interpretations.
Juan Fernando Herrán, s. n.( Romero) de la serie Campo Santo www. LivingArtRoom. com 71