casilda sanchez
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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)

sight

wishes

intimate diary

the surface existence

 



peephole relations, object 2
photographic documentation of the object
customized tube with peepholes
28.25" x 6.4" x 0.75" / 71.7 x 16.2 x 1.9 cm.
2008

Special thanks to Nadia Hotait and Julio Obelleiro.


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”. This affirmation 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.

This is the starting point of the “Peephole Relations” series, where I have decontextualized the peephole as a detaching device that permits scrutiny while one hides oneself behind it. The work explores the varied contradictions of voyeurism: gaze/distance, face confrontation/back to back, optic/haptic, etc. and illustrates it through the photographic documentation of its possible uses, its mise en scène.