Israel Ariño
Photographer and publisher, Ariño's works can be found in numerous private and public collections. From 2001, he started to exhibit his work regulary in Spain and France. Some of his notable exhibitions are: Le temps éparpillé 1995-2015 at l’Imagerie de Lannion, Le nom qui efface la couleur (2013) at the Moulin de la Filature, (Le Blanc, France), Atles i altres cartografies (2013) at Tagomago Gallery (Barcelona), L’explorateur et les caprices du hasard (2012) at Carré Amelot (La Rochelle, France) or Crónicas de un desembarco (2010) at Festival Mapamundistas (Pamplona, Spain). He was invited by differents artist residencies such as: Résidence 1+2 (Toulouse, 2017), Domaine de Kerguéhennec (France, 2016), Aparté lieu d’art contemporain (Iffendic, France, 2012), Carré d’art de Chartres Bretagne for the project Territoires d’expériences (France, 2012), Centre Culturel Colombier de Rennes for the project Cámara Obscura (Rennes, France, 2011), British Museum of London for the project Apollo Epikouros (London, 2009) or the Artothèque de Vitré (France, 2009).
Up to now, he has been published 5 books: Atlas (2012), Terra incognita (2013), Le nom qui efface la couleur (2014), The gravity of place (2017) and Le partage des eaux(2017).
STATEMENT
Since the very beginning, my work has been a reflection on the act of seeing. All my projects, have been conceived with the desire that the image contains and express the invisible. As when you don’t see what you are looking, or as what you don’t able to say when you are talking.
For some time, photography has helped me to deal with personal experiences. Taking photos has allowed me to create a kind of monologue of conversations with myself. But it’s not only that. My intention is to provoke an intense emotional experience that transcends from the individual to the masses. My work evokes a world which is somewhere between real and imaginary, between lived experiences and dreams, between metaphor, geography and autobiography.
I want to generate images that have their own life in the minds of the viewers. I want to leave room for the viewer’s imagination. This only happens if the viewers recognize themselves in the work, if the image has enough power to be able to transmit all the symbolic values that it hides.