El analogón de juan manuel pérez rayego
The image with its immediacy and its realism allows us to give real meaning to all the “things”. The only pre-existence of the reality gives to the artists the possibility to reproduce it as much as to transform it and, even, deform it. The spectator is placed before that baroque idea about the doubt that man has when it is about to confront with the represented objects, as in Etienne Pascal pointed in his essay pour Les Coniques, where the same reality can generate different perspectives according to the visual system used or, getting a bit further, where the images work, following the ANALOGON of Sartre, over the environment that the image itself discovers and organizes in a sensitive way not being able to tell the difference between the material and the intentions. This argument, understood by Juan Manuel Perez Rayego makes his works to let us getting lost in that labyrithm of the eye-sight to unveil part of the features of a reality. And for that he masterfully modulates the dialectic of the Known and the unrecognizable or of the invisible and what can be seen ( visible). And even connect art and science, technology and humanism to save the barriers that could appear at the time of combining them and give light to the controversy that the contemporary world has created around these concepts.
Javier Cano Ramos, text for the exhibition of Natures in Casa de la Cultura, Don Benito, Badajoz. 2013
These photographs and some more, all of 2011, are in the Special “Indignados” of the newspaper Público, http://especiales.publico.es/en/indignados/. Here the author did not sign with his full name, he did not consider himself a photographer documenting 15M, but rather one of them who took photos of an overwhelming movement for having been able to congregate people of such different condition and age in squares of Spain and of the whole world.