The rational order we give to what surrounds us is a refugie for our anguish towards our own dissorientation. It has given us more dominance over space at the expense of losing freedom to believe other posibilities of reality.
“Ãngulo Cero†(meaning “zero angleâ€) questions our cultural vision of space and it’s representation in photography. Unlike the study of space in Renaissance and it’s influence in photographic representation, the project subverts the single point of view and proposes a visual alternative we can’t embrace as observers, nor can we access it with the conventional use of a camera. The project destroys the classic herence of photography to construct a new image, or in any case intensifies it’s representativeness by means of it’s destruction.
In order for this to happen, a rule was stated to take pictures of spaces with complex geometrical perspectives, with the intention to modify their original form. A dolly was used to move the camera from one side to the other of the chosen space, and pictures were taken 1 inch apart from each other in a straight horizontal line. Considering the depth and width of the place, a thin strip from the center of each photograph was kept and was later put side by side with the other central strips. The connection of adjacent focal points, many joined centers that create a new geometry was obtained as a photographic result.
The way of taking these pictures can be considered a new study of perspective due to it’s aim to compose a new spacial structure using a strict rule. Even sabotaging a rational order, the method used is rational, and limits the photographic angle even more.
The camera is used to revert it’s functionality because it’s perspective is now “broken†and the visual perspective theory according to Renaissance is cancelled.