Among all the functions of the human body, memory is undoubtedly the most fascinating. It is what defines who we are, and it makes us understand the world around us. That is why the photographic narrative presented shows us the use of a past time, ordered and redone by the memory of a subject, with its characteristics and sensations. This reconstruction of facts, of course, was determined by the identity of the subject, who presents himself in the simplicity of the world around him and sometimes recognizes himself as the anguished adult in the face of the inevitable losses of life. In general terms, we obtained impressionistic evocations through sensorial resources that suggested the soul state of a being who valued the metaphor and its discursive memory.
When observing the semantic multiplicity in the transference of meanings, the whole of the work provides the recognition of being the only one in which it presents a subject misaligned in time and space. At the same time, through his pain, we are “invited” to see the world rebuilt by his memory.
In other words, this perspective provides the reconstruction of a singular moment of the psychic apparatus. On the theme of memory, the French photographer Henri Cartier Bresson states in the essay about the decisive moment that the experience of photographing and of carrying out photographic reports always respected the memory and the memories of each photo taken while galloping at the speed of the scene. All this shows us that spirit, soul and heart are deeply, naturally and unconsciously “tied” to photography. Moreover, in certain cases, it’s as if photography presented a quality of alienation, of double. In fact, it is a psychic and objective power, because we create versions of everything, and then process them in the imaginary. And it is on this double that the memory and the photographic memory are deposited.