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“The Solitaries Traces of Light”
by Juan Carlos Pinto

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In the largest city on the planet, the solitudes are also immense.
Forced to isolation by the unfolding of everyday life, the lonely ones inadvertently attend a fleeting symphony in which the tightened strings are the flow of space and the pilgrimage of light. The time expands and suddenly the transformation occurs: they bloom in chiaroscuro, wither away with the meow of the stuttering clock, disappear.
Exiled from a time that is no longer but an image, they become the solitaries traces of light.

 

From “The solitaries traces of light or the visible city”
by Magdalena Okhuysen

 

I cannot think of this series without inscribing it in what I consider deserves to be understood as a photographic and visual essay, and in that order: firstly photographic, and once that height has been reached, visual. The light sows its imminence in each and every tale that Juan Carlos offers us. The tonal richness and the balance with which the architecture of each scene is structured are at the service of the photography. And in this framework, the substrate of the visual poetics appears, the true spirit that encourages the photographer to feed that other, truly desired routine, one that we can imagine: the daily paths taken by the artist who, enthused, driven by this new promise of everyday life, goes out onto the streets in search of the right place to discover unwritten stories, but which will be set down in images, due to their necessary, indispensable latency. The images live hidden in the power of the city, which, based on its history and inexorable future, has created a concrete and routine daily life in each individual that lives there. But this routine is not definitive, and with an assumed simplicity and strength, a curious fact is set down poetically in this collection: routine is also part of the life force that the city absorbs like an organism that participates in this strange, curious and beautiful phenomenon of its being: the endless city.

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