Martínez Bellido’s work delves into complex issues related to the primary nature of images. Through the manipulation and repositioning of found vernacular photographs, this project inhabits a poetic territory situated in temporal suspension between day and night, light and shadow, the visible and the suggested, the perishable and the eternal
Analemmatic clocks are a type of sundial that is characterized by having its dial at ground level and by lacking its own gnomon. They are incomplete clocks, which need the viewer to function, since it is their body that acts as a gnomon and projects its own shadow on the hour marks.
The main work in this project is made up of a set of 15 found photographs with a common composition: outdoor portraits of people looking at the camera and casting sharp shadows on the ground. Installed in the shape of an arc, like a sundial, the shadows cast by the characters coincide with the hour marks, marking the passing of the hours.
In this way, these biographical photographs become an astronomical instrument for measuring time, marking and overlapping the subjective time of human existence and the absolute time of nature.
The installation is completed with a series of photos documenting small fragments of photographs, located in dark regions of the images and which, magnified through the microscope, resemble panoramas of the night sky. Like Cosmologies, these zoom images reveal the superposition of the registered shadows and the marks of the natural degradation of the material-support as a result of the passage of time, as a palimpsest.
Time and space intersect here: the detained time of individual experience in contrast to the extended time of galaxies, the space contained in memory and the immeasurability of the universe.