DIGITAL PHOTOGRAPHY
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Guayaquil, 2005 I see my reflection in a mirror. I do not see myself, what I see in an image of me. If I copy my image from the mirror it would be a self portrait: a reflection of a reflection. In a similar way, if I use the camera to capture what is in front of me, I see an ephemera moment, but what it really is, is a reflection. These kind of physical processes are in the catoptrics and are part of action showed in the visual arts. Universally the portrait is the more extended part of this processes and also one of the less understood. However, the portrait and the action of making a portrait, is like the concept of our existential condition and is inseparable in every human being. The genetic similarity which is unique to every species, the phenomena of mimetic assimilation, to get the plastic transformations in the human been appearances, refers to complex and exciting subjects in life processes and social behaviours. Maria Veronica Leon has dedicated a considerable part of her work to the portrait as its own unique genre and she makes the reflection the action in the painting: reflection upon reflection. As a contemporary artist, she is committed to the traditions of the past and the ancestral myths that we can see with the first vision of the reflected image of the face. This should remind us of the ancient Greek myth of Narcissus, who falls in love with his own reflection and when trying to kiss it falls in to the water, drowning, leaving only the circular waves that disappear little by little. Until the 19th century, the universe of mirrors was one of complex symbolism, with its own precise characteristics. The mirror used to be referred to as “pshique” because it was believed that the soul was translated in the reflection. Today, mirrors have become banal. The latest work of Maria Veronica has been inspired by one of the most extraordinary places in the world: the magical and mysterious Venice, where she sees the city itself reflecting its own beauty on its waters in self perdition, in renewal with the myth of Narcissus. The intelligent and reflective visual process of Maria Veronica, brings us a very interesting mix of options: From the painted canvas, to the painted mirrors and the cybernetics medias, a complex conjugation of options that re-visualize key moments in art history such as “Venus in the Mirror” by Velázquez. When she paints over mirrors or transparent supports, she transports herself and the observer to perceive the concrete limits of the surface. Inside a transparent cube she undertakes her performance, in which is melts inside her own image, disappearing, creating another mythic version of Narcissus. Based on these points, we can see the same process takes place in the visual arts and in literature: what I write, what I tell, and what I do is a reflection of my psychic, and it is this reflection that is projected out of the mirror and into this world. In this state, the smile is perfect: ut picture ut poesis I am and my reflection is my alter ego. It is another self separated, visual yet not attainable, and this is the soul that art makes living face to face.
Juan Castro y Velázquez Art Historian and Critic
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