In this collection that builds my first solo exhibition in London and second in Madrid, I perform a manipulation that demands greater body movement, and an inevitable work-spectator relationship. Contrary to the immediate and massive consumption of images, these braided photographs challenge patience when observing the final piece, inviting to stop and recognize. It consists of photographs that show nature and the individual -recurrent combination in my practice-, that separately look familiar, but propose a greater contemplation when weaved.
On the other hand, this series has coincided with a need to add writings to my didactic and creative process, since my references have been, for a long time, purely visual. In this development, I have reaffirmed my admiration for words and their capacity, and I have even found their occasional ambiguity very attractive and powerful. In addition, these do not require prior knowledge, more than the ability to read. The result is a series of intervened texts in which literature becomes visual and reflection is not extrinsic to production, but becomes the work itself. Also, and unlike the others, they involve a subjective but almost immediate understanding.
Word and image complete this series, concluding that both complement each other in an observation and reading exercise that focuses on a paused intimacy with the viewer. Inquiring into the strength of the words, in their relation with the images, and in the way in which we consume the latter, I want the art piece to speak with the observer. And him with himself. Beatriz Dubois
Beatriz Dubois (b. Madrid 1991) raduated in Advertising and Public Relations from the CEU San Pablo University and in professional photography from the School of Photography and Image Center EFTI, she uses photography as the basis of her work and paper as the medium for analog collages and compositions. Her work reflects on subjects such as the relationship between the individual and nature, the search for an identity, the link between the human being and the outside world and oneself, the slow contemplation of art against the massive consumption of images, or the use of dualities and analogies as a conceptual basis of her practice. Her work is part of important private collections such as the Himalaya Collection, Campocerrado Collection, Alicia Aza Collection or Entrecanales Collection, among others.