Photography has become the main territory of the visual arts. As a language, it possesses extreme strength due to its voracity and capacity for adaptation; it functions as an organic, living medium, constantly changing and growing. If until recently it was presented mainly as a flat two-dimensional image, today it is shown in an infinite number of ways and hybridises with other media and disciplines; it encompasses everything, nothing escapes its omnipotent power. The 21st century image is now unfolding its syntactic potential, encouraged by an overflowing society that lives entrenched in screens. Visuality has imposed itself today, everything is an interface.
The iconographic reality we inhabit every day is a jungle that grows and grows out of control. In this luxuriant thicket fed by the eyes, more and more situations have a place and it is more and more complicated to delimit isolated compartments, the different expressions cross each other without borders between them. In a ubiquitous and hyper-connected world, the physicality of the photographic has emerged to reveal its aesthetic possibilities, which have naturally surpassed the fundamentals that have predominated in 20th century photography, defined by the use of a camera and the capture of an instant. By detaching itself from a procedure and from its documentary past, photography has freed itself from ties to demonstrate that its versatility is above any narrative aspect. The container-support and the content-story have merged, the how and the what have become equal to generate visual works where the mode of presentation counts as much, or more, than the image that feeds and justifies any work.
