Sebastián CAMACHO


“c a p a s”


Project Space
April 14 – May 13, 2016

There has been a layered thought since the invention of bound books: to access information that is assumed as continuous we must turn each sheet, one after another, to generate a complete image that is spread on each page. Unlike papyrus, which involves a continuum of reading to the right or left on the roll, the book maintains one unit in each sheet, devoid of all meaning without its kin. Or rather, the partiality of each of the sheets in relation to the story as a whole makes us think that a page of a book is always both fragment and whole, depending on how it is read. In recent years, this situation has changed dramatically with the invention of the Internet because of the transformation of forms of reading which also work as layers of information discontinuously depending on the relationship that the user has with the platform. An Internet search, either by text or image (still or moving), implies the recognition of a code other than a book because the notion of what comes first and what comes after has a different relationship with “depth” even though it retains the conventions of reading (what is ahead is always later).

The research carried out by Sebastián Camacho regarding the images engraved on notebooks and landscapes taken from Instagram thumbnails has to do precisely with the need to think in layers of information and how these are distributed on surfaces. Camacho takes advantage of the “depth” offered by the layers of paper to make a partial cut in each, which together form one continuous recognizable and figurative image. As in the books, an isolated page still contains partial, abstract information that can only be understood as a whole from the continuity of emptiness and fullness one after the other. In landscapes, the individualization of photos found on the Internet from a technique such as watercolor, helps isolate a photographic stereotype, transforming the information circulating on the web as plural code into a unit.

Both watercolors and engraved notebooks respond to the same concern: obtaining information can be “deep” or “shallow” but both have to do with different ways of knowing that are involved in the mass distribution of information. One becomes volume based on overlapping planes; the other becomes one surface as an extraction of a detail from miscellaneous elements. This exhibition is the sign that the two may be the subject of art. It is, ultimately, a way of understanding the information.

Daniel Montero Fayad