Sofia Paredes

SOFÍA PAREDES

Some days, depending on my par8cular mood, I search for moments. Some8mes, when I’m lucky enough to find them I succumb them, for a day or two, to my subjec8ve memory. These momentary glimpses of the flee8ng moving picture of the day to day life include the glazed eyes of a sunburned boy through the dirty window frame, a slight in8mate touch of a gentle hand to another’s neck cape, the tensed muscles of a wrinkled face old man, that with treasured remembrances, sucks on a cigar, the passing shadow of a bicycle on the wet rough pavement, the instant when a children`s laugh turns into a vigorous cackle, or the sight two hands interlocked in promises, swinging through the street. My concentra8on consists on portraying an instant flash, a glimpse of ecstasies and emo8on, an ar8s8c photo of a fic88ous reality in which the viewer, including myself, can speculate the past, present and future of the protagonists in that high-‐pitch minute that for different reasons differ from other day to day moments. My concentra8on`s ini8al images consisted mainly on portraying the face of a certain character. I wanted to be able to expose and reveal that person`s fic88ous life and for the viewer to perceive it. One of the main ar8sts that lead me into the convic8on of this idea was Juan Antonio Roda, where, in each of his portraits I could sense each person`s true iden8ty. Nevertheless through my process I began to search more, and found that to tell a person`s story, I could show not only an instant of facial expression but of an interac8on with that person and there surroundings. That’s when the idea of including more than one being in my work arose.

SofĂa Paredes

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