Project (a work in progress): 17 julio 1936 - 28 marzo 1939 

Input: The title of each work pinpoints the length of the Spanish Civil War, the location of the photographic work, along with the author and title of the included poem; when first looking at the work one asks, "what are these images I can't see? ", and, "what is this text I can't read?".

Beneath the paint redacted photograph lies the image of a building - there are two parts to each image; on the left is a side view, to the right an end view; this is a deliberately systematic approach to making a 'structural photograph', photographic information placed in an isometric composition is comparable to a technical drawing where a two-dimensional drawing informs us of its three-dimensional possibility; it's an interface of one reality to another.  

Neither the structure nor the landscape captured held any particular historic reference until I photographed them; these buildings are located on the edges of communities, where I believe they also exist along the edges of collective memories; people rarely find their way into my compositions but they are there by virtue of their absence; sometimes a stranger will make a detour in order to tell me a story, " this was an important building, it belongs to the village behind you, there was fighting, and many died here." the message and the messenger, becoming entwined with the work; I will take a photograph from which we both can never escape.

My sensitivity to 'place', along with these stories have led me to understand the structures not simply as buildings but as people, missing people, the atmospheric presence of people who were 'disappeared' during the 'Spanish Civil War'.

Beneath a paint redacted text in the lower part of each piece, lies a poem that you can't read; it will have been written by someone known to have been either 'disappeared'  by Franco's Nationalist cause or to have been a conscientious objector, persecuted by the Fascist's.

Output: Using the apparent bureaucratic colours of typewriter ribbons, thick paint has been applied to both photographic and text elements of the work; using a grid template, the pattern formed has been repeated over the two bringing attention to the systematic procedure adopted to 'disappear' thousands of people during 'Spanish Civil War. The resulting work of this project references my own ordered approach, seen as a  typographic non-language, non-sense, and a coded other.