LYKA GONZALEZ
A LT H O U G H P H O T O G R A P H Y R E Q U I R E S TA K I N G A S T E P B A C K , P H O T O G R A P H E R S OUGHT NOT TO EXTERNALIZE T H E M S E L V E S F R O M T H E S U B J E C T. I N T H I S F I E L D , T H E R E I S N O S E PA R AT I O N BETWEEN THE PHOTOGRAPHER AND ONE BEING PHOTOGRAPHED . IT IS NOT T H E D I S S I M I L A R I T Y T H AT I S B E I N G PHOTOGRAPHED . WE ARE DRAWN TO W H AT I S A L R E A D Y PA R T O F U S , T O W H O WE ALREADY ARE. I AM ONE WITH THE HUMANS BEFORE M E - - I N T H E I R S PA C E , I N T H E I R D E S O L AT I O N , I N T H E I R C RY A N D T H E I R J O Y S . I F E E L T H E S A M E I S O L AT I O N , S O R R O W, M A J E S T Y A N D E X H I L I R A T I O N T H AT T H E Y A R E . I AM A P H OTO G RAP H E R B E I N G -WITH W H A T I S B E F O R E M E . I A M N O D I F F E R E N T.
ON PHOTOGRAPHY
PHOTOJOURNALISM THE ATENEO COMMUNITY WELCOMES THE COCONUT FARMERS AS THEY ARRIVE IN THE ATENEO DE MANILA UNIVERSITY (ADMU) ON NOVEMBER 20, 2014. STUDENTS AND FARMERS OF VARIOUS RELIGIONS GATHER AS ONE FAITH AND ONE HUMANITY AGAINST INJUSTICE.
W H E N M Y W O R D S FA I L TO S P E A K , I WRITE IN PHOTOGRAPHS;
I LET MY IMAGES BE MY PROSE.
PHOTO ESSAY
SOME BODIES OF WORK NEED TO BE DISCERNED IN THEIR ENTIRETY, THE SUCCESSION OF IMAGERY REVEALS MORE DEPTH AND MEANING TO THE COMPOSITION. SUCCESSION, SYNTAX AND ORDER ARE PREGNANT WITH MEANING.
i T H E O RY O N I S O L AT I O N
WHILE CITIES HAVE A BOURGEOINING ECONOMY, THIS PERSONAL PHOTO ESSAY CHALLENGES THE CAPACITY OF URBAN AREAS TO FOSTER A SENSE OF HOME AND BELONGINGNESS IN SUCH ARCHITECTURAL TOPOGRAPHY. THESE PHOTOGRAPHS CAPTURE THE URBAN INHABITANTS’ ESTRANGEMENT FROM THEIR OWN DWELLING AMID THE VIBRANCE AND DENSITY OF THE MODERN LANDSCAPE.
T H E O RY O N I S O L AT I O N
T H E O RY O N I S O L AT I O N
T H E O RY O N I S O L AT I O N
T H E O RY O N I S O L AT I O N
T H E O RY O N I S O L AT I O N
T H E O RY O N I S O L AT I O N
P H O T O G R A P H I N G N AT U R E AND THE HUMAN SUBJECT DEMAND TO BE REVEALED IN I T S U N A D U LT E R A T E D P R E S E N C E . THE ONE BEHIND THE CAMERA IS REQUIRED OF A SURRENDER TO T H E C O N S TA N T U N F O L D I N G O F L I F E , A N D I N T H AT S U R R E N D E R ARISES AN EXPERIENCE OF B E I N G O N E W I T H A L L T H AT I S .
TRAVEL AND LANDSCAPE
THE RIVER HUMS A PIOUS SONG, AND WE ARE CRADLED IN ITS HYMN. DO WE DWELL IN ITS REVERENCE?
(MONTALBAN, RIZAL)
AN IBALOI IS CAUGHT IN HIS OWN DUALITY, AS THE WORLD IS IN A CONSTANT CONVERSATION.
(BENGUET, MOUNTAIN PROVINCE)
OPEN DOORS
THE CREVICES OF OUR HOMES REVEAL SO MUCH OF OUR HUMANITY, JUST AS OUR FRAGMENTARY LIFE IS REVELATORY OF THE WHOLE. OPEN DOORS PEERS INTO THE FRACTURES OF CONFINEMENTS, UNVEILING LIFE’S MOMENTARINESS AND ALL THAT MAKES US HUMAN. (SINGLE PHOTOGRAPH TAKEN FROM THE SERIES)
PORTRAITURE
I S L I K E P H O T O G R A P H I N G N AT U R E . IT DEMANDS TO BE REVEALED IN THE Q U I E T R EV E L RY O F T I M E .
INCOMPLETENESS, EVANESCENCE, AND MYSTERY OF THE MOMENT ARE THE INTIMACIES OF A A LIFE NOT ENAMORED. MY PHOTOGRAPHY CELEBRATES THE JOYOUS TRIUMPHS OF TEMPORALITY AND HUMANITY.
PA L M S U N D AY
ISABELLE, WHOSE MOMENT OF DESOLATION WAS SEIZED IN THE RAPTURE OF LIGHT, IS AWAITING.
HE WHO HAD GONE INTO THE LIGHT
TWO DAYS BEFORE HIS PASSING, MIKO ANCHETA PAUSES BEFORE WHAT BECOMES OF HIM. HE IS CAPTURED IN HIS ESSENCE.