Usa ART newS managed to communicate with the talented photographer Valentín González from Spain. Using the laborious process of manual optical effects, he creates an amazing beauty of pictures, which, due to unrealistically saturated colors and shades, resemble illustrations to fairy tales, rather than frames from life.
“I consider my work as photography, not as digital art. What appears in my pictures is something that I see or intuit in the objects that I’m about to photograph before shooting with the camera. I don’t wait until after the capture to see what I can get from it because I sense it before the click, therefore, the manipulation in my work is relative and it is meant to approximate what I show to the viewer with what I see internally. In a sense, I translate my interior code to a more understandable or universal code, this allows the viewer to enter and discover what is the first printout of the picture. You will need to spend some time observing it for the door to open, but when it finally opens you will not cease to see things and, not only that, the things you see can change each time you look at the picture; even on the following days.
I am currently working on collection number 30. I always work with collections. The pictures are united by a common denominator, and sometimes they have a written script from which I take the titles from.
I started exhibiting my photos when I was 20, but it was not until 1991 that I found a way to express myself exceeding the limitations that the objects and models forced on me. A photographer expresses himself through the objects he captures, but these objects have their own personality and for me to be able to show what I feel I must do so using the language imposed by the model that is used imposes. I think this is an enormous limitation that can only destroy the profound life that is in the works. I felt frustrated for not being able to show my inner vision of the reality that surrounded me. The world is full of a special magic that is hidden in the objects, in the symbols of their shapes, their contours and the way they connect to each other. It is from these symbols that I extract my work, recreating new worlds and characters.
I call my work Simultaneous Reality or Photosymbolism. I consider them as a step forward towards the future of photography, towards the non-object, towards a way of expressing interior worlds. It is not so different to what happened at the beginning of the twentieth century with paintings. Although I have been working for 25 years using this technique almost an aberration that I have developed-, I don’t know anybody who does anything similar, but I am sure that one day this type of photographic expression will flow like a river.”