These photographs are analog, both in their capture—with large-format negatives—and in their enlargement, on silver gelatin paper. Each one has a light exposure lasting at least one hour.

They are abstract time encapsulated in portraits and representations of nature. They subscribe—in the unit of measure of their exchange, one hour—to the substantial metric of capitalist production and exchange, and therefore become metaphors of time within the framework of the dehumanization of relationships between human beings themselves. Through the chemical processes that constitute them, they suggest being physical traces of fetishized time in images and frames, both of the subjects portrayed and the landscapes, as well as of the one behind the camera.

They are allegories of human time materialized on paper and as objects of contemplation. Furthermore, in opposition to the canon of the “photographic instant,” these pieces approach the representation of time as continuity and duration. They are, then, a poetic and failed attempt at capturing the perception of human time and the impossibility of its precise representation.