casilda sanchez

y el mar se negó a ser tierra

winter landscape

high tide

quisiera... (I)

quisiera... (II)

quisiera... (III)

quisiera... (V)

quisiera... (VI)

the touch of proximity

interior with red sofa

los labios de su boca...

ojos que no ven

as inside as the eye
can see(video)

as inside as the eye
can see(photo)

peephole relations, object 1

peephole relations, object 2

the viewer

insides (madrid)

insides (chicago)

insides (video)



intimate diary

the surface existence


Insides (Chicago)

insides (chicago)
digital photography
11.5” x 17” / 29 x 43 cm.

“The lamp in the window is the eye of the house. In the realm of imagination, the lamp never switches on outside. It is a confined light that can only leak out to the exterior. Because of it, the house waits. The lamp is the sign of a great wait […] Through the light of the distant house, the house sees, stays awake, watches, waits.”

Gaston Bachelard “The Poetics of the Space”

By photographing lighted windows at night I feel extremely attracted to trying to capture the intimacy and privacy inherent in those spaces. The viewer of these images could also take pleasure in projecting him/herself into them while taking the time to observe the quiet and personal spaces that so forcefully call upon us as their potential and imaginary inhabitants.

This series of photographs, extended from Madrid’s windows to Chicagoans’, led me to reflect on the key role that distance plays to define voyeurism, and how it differentiates the voyeur’s gaze from any other kind of gaze. Rosalyn Deutsche in Evictions: Art and Spatial Politics tells us that, “The voyeur’s gaze frames the objects as if they were images, places them within a distance, encloses them in a separated space and locates the viewer subject in a control position”. So, if I am becoming a voyeur in order to see intimacy and join somebody’s inner space, how can that be possible if intimacy implies relation and community, and the voyeur’s equation contains distance and detachment on it?