In ‘La transmutación del último ente’ (The transmutation of the last being), Hoyos Freyre envisions the idea of an ending that, although terminal, it is not synonymous with closure or nothingness, but a transition, a change of such magnitude and nature that we will never comprehend; an episode to which neither the mind nor the human form will have access. A final breath of this universe which only explanation is that which is not given.

100x100cm Pigment ink print on Harman semi-matte photographic paper.

La transmutación del último ente (The transmutation of the last being)

The children of the medusae will rejoice in our precious inheritance.

Cuando nos lleven las aguas ominosas I: 150x225cm Pigment ink print on metallic pearl photographic paper.
Cuando nos lleven las aguas ominosas II: 150x225cm Pigment ink print on metallic pearl photographic paper.
Cuando nos lleven las aguas ominosas III: 150x225cm Pigment ink print on metallic pearl photographic paper.

Cuando nos lleven las aguas ominosas (When the ominous waters take us)

Died as he lived for what he could see.

El pescador del desierto I: 165x110cm Pigment ink print on Hahnemühle cotton paper.
El pescador del desierto II: 180x110cm Pigment ink print on Hahnemühle cotton paper.
El pescador del desierto III: 165x110cm Pigment ink print on Hahnemühle cotton paper.
El pescador del desierto IV: 165x110cm Pigment ink print on Hahnemühle cotton paper.

El pescador del desierto (The fisherman of the desert)

Finding the Stoics philosophy very relatable and of utter importance, inspiration found me through the virtue of equanimity or what they would call apatheia, the state of mind in which one is free from emotional disturbance, where one can be in total control of one's response to any circumstance while being in total control of one's self, found between the harshness of the textures of life and the peaceful colors of the mind.

Apatheia alpha: 225x150cm Pigment ink print on metallic pearl photographic paper.
Apatheia beta: 225x150cm Pigment ink print on metallic pearl photographic paper.
Apatheia gamma: 225x150cm Pigment ink print on metallic pearl photographic paper.
Apatheia delta: 150x150cm Pigment ink print on metallic pearl photographic paper.
Apatheia epsilon: 150x225cm Pigment ink print on metallic pearl photographic paper.

Apatheia

Within synergistic bacterial communities, where their different populations unconsciously benefit from each other, an important analogy arises for our own behavior that takes on great relevance in the current global situation; something we could learn on from our microscopic cohabitants.

Autopoiético e inconsciente_1:  110x165cm Pigment ink print on cotton paper.
Autopoiético e inconsciente_2:  110x165cm Pigment ink print on cotton paper.
Autopoiético e inconsciente_3:  165x110cm Pigment ink print on cotton paper.

Autopoiético e inconsciente (Autopoietic and oblivious)

What is housed in a rock? Through the cutting of a stone it is possible to look at a story as old as the planet. The stones, witnesses of time, of life itself, recount in their materiality, in the cracks, colors, mineral formations, shapes and textures, a synthesis of this place we inhabit and to which we belong.

The native peoples, throughout history and the globe, have maintained a search for earthly unity, for understanding this place and those who inhabit it, as part of the same system. This photographic series is situated in the mineral testimony as a metaphor for ancestral values.

Rocks, like the ancestral wisdom of indigenous peoples, are the result of a very long history, and their existence in the bustle of the present is essentially resistance.

El cosmos intangible o 'Eso que te prende es invisible' (The intangible cosmos or 'That which turns you on is invisible'):
‘Stubborn that who puts a price on time, the outbursts of the spirit and stardust. That what is most valuable cannot be priced. That what cannot be touched is what is kept forever in the soul. That memory is not made of what the senses grasp.’
100x100cm Pigment ink print on Hahnemühle cotton paper.

El incomparable privilegio de la hermandad terrícola o 'Respeta a tu madre, es mi madre también'⁠ (The incomparable privilege of the earthling siblinghood or 'Respect your mother, she is my mother too'):
‘Who earthling if not the flower that was born on the sidewalk, challenging the asphalt to stand immense although small, or the clouds that cover the traffic, or the hills that contemplate the sea, the birds, the insects, the dogs and the plants . The cacti. The water that runs although bottled, which in its path wets to the driest. Blessed the earthlings.’
100x100cm Pigment ink print on Hahnemühle cotton paper.

El retorno del metahumano o 'Usted es un animal; actúe acorde'⁠ (The return of the metahuman or 'You are an animal; act accordingly'):
‘Oh, humans! Believing that reason and language frees you from instinct. Building machines to understand, do and undo. Not catching the wind because they can't. Oh humans! So self-absorbed, so forgetful. Hearing but not listening, and letting the world’s singing pass them by. Oh humans! So animal and so unaware of how beautiful that is.’
80x120cm Pigment ink print on Hahnemühle cotton paper.

El despertar del bípedo agraciado o '¡Sálvese pues!'⁠ (The awakening of the graced biped or 'Save yourself alright!'):
‘‘Is there anything older than the idea of dominance?’ Humans ask themselves. Always distracted by history; confused; anthropocentric; locked in the skin and body of people. Remember that what is taken by force, can be shared in harmony, built in love, or even left to be.’
120x80cm Pigment ink print on Hahnemühle cotton paper.

Telúrico (Telluric)

Existing isn’t the same as inhabiting. When a place becomes a habitat, there is an active fusion between the subjects and their surroundings, and the surroundings and their subjects.

This photographic series is stated as a criticism that comes from abstraction; a call to reflect on the effects caused by our social behaviors as inhabitants of this place. As cohabitants, this call extends to us as entities sharing a one and only place.

From metaphors landed in the mineral form, this body of work emphasizes a detailed observation of organic expressions that reveal transformation processes and allow us to mirror human behavior.

The proposal of ‘Habitante’ (Inhabitant) lies in the influence that we have as humans and hints at the urgency of prioritizing cooperation and humanizing over apathy, transgression and other negative habits.

Hábitat: 100x100cm Pigment ink print on Harman semi-matte photographic paper.
Hábito: 100x100cm Pigment ink print on Harman semi-matte photographic paper.

Habitante (Inhabitant)

What would happen if we had to leave Earth? If our actions and the irreparability of their effects made this place uninhabitable, where would we go? ‘Inminencia efímera’ (Ephemeral imminence) is an invitation to imagine possible destinations.

The imminent, what will happen. The ephemeral, that which is as long as it exists and ceases to exist. Both imply promises of future times and evoke, in essence, a warning.

This series features seemingly faraway landscapes, but not distant. In them infinite paradoxes coexist: temporal, spatial, luminous, dimensional. Conjugated in an unknown future time, these landscapes present ambiguous scenarios where desolation, beauty, stars and rocks are as much as the time and space they inhabit. Like the cracks through which the light sneaks, its inhospitable beauty makes present the existential notion that titles the series.

From the spectator-representation dialectic and the distance it allows, these artworks promote a consciousness that operates from the fictitious and perches on the entry and exit of an image. This photographic series glimpses futures from a present in which preventive actions are still possible. As if from the now, the images gave way to futures that are in another time and space.

Inminencia efímera I, II, III: 100x100cm Pigment ink print on Hahnemühle cotton paper.
Inminencia efímera IV, V, VI: 120x80cm Pigment ink print on Harman semi-matte photographic paper.

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Iván Hoyos Freyre