He explores the boundaries of the subject and the fragile boundary that separates the individual from another, and investigates the relationship between human and his environment.
He has developed his creative process in Artist Residence Programs such as the Contemporary Art Center in Essaouira ( Marroc), the Upernavik Museum (Greenland) or the Noass Art Proyect in Latvia.
Fuembuena’s work has attracted many accolades. In 2011, he was awarded with Air Fellowship. Kultuuritehas Polymer. Tallinn, OCEMX Mexique D.F. Prize , Art Generations Caja Madrid 2011 and ARCO portrait Photographer or as well as finalist in both the International Festival Emergent. In 2009, he was announced as the Emerging Artist Award in the St.Isabel of Portugal Art Prize .
As well, he was awarded with the Sta. Maria de Albarracin Grant or the Encontro New Artist Grant . His work has been selected in Photoespaña 2011 Festival and nominated in the 2011 European Sovereign Art Prize ( Hong Kong) or Fotomuseum Wintherthur Plat(t)form 2013.
His work has been published in magazines such as OjoDePez, EFE24, New_Papers , 30y3, PMS 485C,...
His work has been exhibited both nationally and internationally and is included in public and private collections such as Buñuel Foundation or CDAN.
http://www.30y3.com/esp/?cat=64
Light without Shadows
Lola Garrido
Light is the first animal of the invisible.
José Lezama Lima
Lola Garrido
Light is the first animal of the invisible.
José Lezama Lima
Truth exists, only falsehood has to be invented.
Georges Braque, Pensées sur l'art
Georges Braque, Pensées sur l'art
The portrait’s appearance becomes strange when cold and inert faces
emerge from the mirror. Jorge Fuembuena draws the world with a luminous
gaze that crosses the glow and triggers a definite sensory confusion, a
style of photography that at times is lucid in its near invisibility.
His is a visual aesthetic that makes one think of what is ideal, static
and transparent, and of the timeless work of modernist romantics, a
non-saturated, highly subjective way of seeing, so emotionally distant
that it is almost impersonal.
The dramatism provoked by this full luminosity that can even blind us invokes the celestial and returns a clearer image to us.
Jorge Fuembuena’s photography is free of shadows. Beyond their white
boundaries, a stony calm prevails in his images, caused by their radiant
characters capable of extending a halo of light and inspiring in the
viewer a powerful illusion. Observing Fuembuena’s images, you tend to
think that the light has still not arrived, that the perceptible has
vanished and that some thread of a dark shadow will arrive immediately.
In his essay Camara Lucida (1980), Roland Barthes asserted that if
you couldn’t delve deeply into photography it was because of its
evidence. In the past, photography was used to record an unfathomable
reality; it was like a live trace of an unrepeatable moment.
Contemporary photography is also light writing, but its language is the
perfect bait for a trap. Jorge Fuembuena’s photography is a good example
of these aesthetic coordinates, an exercise in full luminosity that
becomes magic where the transparency in the image’s limpid shapes
confronts sparks of dark signs that make it very difficult to decide
whether the message is real or invented.
His shots imply a certain mystery or bear something unexpected
without revealing any secrets. And if we continue to speak the normal
language of commonplaces they touch on truths that continue to be
important as time advances. To put it briefly, these carefully selected
photographs are not only beautiful, they are as far as they can possibly
be from what is trivial or gratuitous. Jorge traps us with a fantastic
luminosity and deploys a mysterious poetic atmosphere that envelops,
seduces and captivates us, making us believe that these blurred
photographic images are the perfect representation of what is real.
And in doing so, he defines post-modern art in good measure, because
he defends a purified aesthetic that encloses an ironic, penetrating
discourse. In this direction, current emerging art makes spiritual
contact with the mannerist movement. Refined manners, wrapped in a
gracious environment are no more than a mask for complicated moral
difficulties.
In this artist’s photography one senses a delicate synthesis
emanating from irony. His characters are shown as concentrated yet
uneasy and they are part of settings that have been devised based on a
discourse of studied iconography. Aby Warburg – the father of the
iconological trend – would tear apart every gesture in search of telling
notes on personality, a condition that reveals the portrait’s subject
by resorting to the collective unconscious, which offers more data than
what is shown by simple appearance.
This discourse contains less clarity that it seems, and to illustrate
one of the series with greatest perspective, Fuembuena recruits a group
of characters to bring them face to face with their backs to reality.
These are portraits that disturb, that bear a personal seal. The same
impatient sensation is produced by the Holidays series of landscapes.
This cycle of images confronts a reflection on “artisticity”; at first
they seem to be ordinary everyday snapshots of mundane subjects. Only a
closer approach leads to a critical introspection that reaches a
metaphysical dimension: a kind of ecstatic concentration between the
human being and his world.
