The photographs—digital, Black and White with playful color tones—are collectively entitled “Distant Guise: An Outsider’s Perspective From Within Mexico City,” examines the actuality of place, space, symbolic representations, familial life through youthful optimism, and the interactions between inanimate objects and human things. It’s an overt juxtaposition about the often overlooked confines of everyday living beyond, and despite of, immigration and socio-political doctrines. They are portraitures of holistic stories singularly captured for interpretation and subject-matter validation.
Although no narrative, or one set of images, string the photographs together, it’s important to notice the elements that the images delve into; notions of photographic-form while capturing specific shapes and movement (in locomotive things) to present in-the-moment life—what is now, what has been, and what will be in the depicted kinespheres. This particular vantage point is imperative. An obviously shameless, biased—but not staged—account of the subjects are composed aesthetically—and one could argue artistic choices—along with the content. Each image is captured in the midst of haphazard and swift frames. The messages are not blatantly political and, in fact, abstractly positioned for ones own examination.