Home Artworks 02# Komorebi

02# Komorebi Discover the best available selection of prints by the artist Jose Quintanilla. Buy from art galleries around the world with Kooness! Kooness
800 EUR
4.2 5 20


02# Komorebi


Single piece Framed



40 x 30 cm
16 x 11.81 in







Technique: Black and white film, medium format Mamiya 6x7. Copied with pigmented inks on cotton paper by the author, illuminated with watercolor and mixed technique. Framed with walnut molding and anti-reflective museum glass.

1963 Murcia, Spain

José Quintanilla focuses on landscape photography understood as the relationship between man and the surrounding territory, the space between human and nature, the frontier between reason and chaos. The memories, the search between beauty and absence. According to the artist, among the monumental representations, the ruin will become a key to our collective memory, the door to access the oneiric world that, as Marc Augé said, places us in a "pure time, without date, but with memory". The ruins reaffirm the roots of our past and establish our heroic references. When these do not exist, they have to be invented. The false ruin -also called folly or caprice-, became fashionable in the landscape gardens of the wealthy in fashion in the landscape gardens of Europe's wealthy classes at the end of the 17th century. As generators of on-demand memory, they recreate the Western vision of a history that clings to an idealized past but necessary in order to cope with the threat posed by the arrival of the industrial revolution and modernity, while soothing consciences troubled by growing environmental degradation, overexploitation of the natural resources, the ruthless use of children and slaves, and the appropriation of other people's wealth in colonized territories. The passage of time dilutes the distinction between the original and its copy. The ruin and the photograph, with its supposedly documentary veracity, as representations to shore up our fiction. The works of this photographer reveal the invisible connections between film and people. The same movement runs through them: that of the passage of time. On the one hand, the images capture the passage of time and people; on the other, the man who captures life, his marks, his wrinkles, his stiffness, his slowness and his memories.The links between the films and the old people do not cease. They are like a mirror of each other. They are archives, condemned to a fragile and ineluctable destiny.

Bodies that are damaged; on the other, films that disappear; on the one hand, memory that evaporates; Preservation is difficult, it becomes a political, ethical and cultural. What to keep of our memories, of our history? What is the destiny of our memories? What is the fate of aging bodies in the image? What is the fate of the image in the digital age? Does the image allow an eternal life, the avatars a second life? Can one save the other?

Read more



DDR is an Art Gallery based in Madrid, Spain which represents Latin American artists. The represented artists are both established as well as new talents on the rise, always from quality criteria in any of its disciplines: painting, photography, sculpture, collage, illustration and urban art and NFT. Their motto: "If you're not on Google, you don't ex...

Read more