Sequentia is an exploration of the concept of 'sequence' in the works of M Dolores Gregori, Yoko Kanayama, and Maria Martínez-Gironés. The show also aims to provoke a dialogue of interdisciplinary practices.

The photographic images of Gregori pose the idea of sequence in the depth of the image, questioning the way we perceive layers of reality. Kanayama's photographs follow 'ghosts' in a unique sequence. It proves that time is no longer on the axis of a line, it is another space, bringing another dimension to our perceptions.

M Dolores Gregori

“…look at our space…
  what is it , if not continuous depth?”
Naum Gabo & Antoine Pevsner
Realistic Manifesto, 1920

Could a single image say it all?

Change postulates time and the most truthful truth is the recent one. A sequence is hence a second gaze. The linear sequence of an image that precedes another implies the existence of the future, the adopting of another identity, other emotion, the possibility of creating infinity… A single image astray of its sequence is in turn a sequence in its depth of particles of light coming closer and parting away in space, in all its dimensions.

On the surface of an image appears a trace of a previous stroke; simultaneous images: the correction of a space for a more specific one, a more rigorous space. An array of planes of light juxtaposed construct reality, departing from nothingness: white light.

Maria Martínez-Gironés

To narrate anything into words is to sequence it. However to enumerate the physical parts that shape an object is not to narrate it, but to list it. One cannot narrate a person, a building, or a tree. Only one kind of thing can be narrated: a time-thing, an 'event'.

And what is an event? A narrated event is the visualisation of a real event: an image of time. A narration is the symbolic presentation of a sequence of events connected by subject matter and related by time. Without a relation of time we only have a list.

These series of paintings attempt to present a sequence of events that have as a subject matter the process of transformation and change, growth and decay along a non-linear time. This process of transformation is narrated through the material aspects of paint and expressed through the process of painting — the activity of creation and destruction, building and layering, pouring and brushing creating marks of time analogous to the weathering and erosion of physical matter with emotional attachments.

We are familiar with the taste and smell of a cup of fresh coffee in the morning, of a baby smiling, of a sunset, etc. These are everyday events, yet every time we experience them, it feels fresh and loving. It is beyond our memories and remembrances. In my work, I try to make photographs that will never lose their freshness. In other words, I have discarded the concept of framing the image or capturing the moment. By photographing beyond the time line I have noticed that there are spectress everywhere floating between one frame and another, one space and another.

I am interested in photographing spectress in order to free photographic images from framed fixed memories. Photography is not the interpretation of memories. Specters present the coexistence of our past, present, and future.