Adrià Goula shows photography as an independent and self-sufficient object, not just as a window to another reality. He is interested on the gaze that does not go through the image, but is reflected in the photograph by itself. Away from the perspective of the window, or perhaps better, not into any other space. This proposal aims to confront the viewer with an image that does not allow him to escape and proposes him to recreate the beauty of the real, the imperfect.
MONOCROMS is, at the same time, an image and a metaphor. It began with the encounter, on a trip through the United States, of these buildings with their doors and windows boarded up. Many of them painted in a single color to camouflage the elimination of the openings. The crisis isolates us, closes us on ourselves and we have to hide in false appearances so as not to show the inner drama. Effects of this crisis and also of an old tax that levies the number and size of the openings of industries. We cannot see inside, all they let us see is these made-up surfaces that cannot prevent us from imagining the dramas they hide.
A crisis weakens us, makes us feel vulnerable and closes in on ourselves, isolates us. These buildings mimic this attitude. Buildings that were previously open and full of windows, are now impenetrable, hermetic and totally opaque. All painted, whole, in the same color to hide, like make-up. Sometimes a small opening reminds that behind it may still be someone.
An architecture remains without depth, like a low-relief. Roman theaters recreated fictitious architectures from two-dimensional constructions that functioned as a backdrop. Here these buildings also become a scenery, this time of a ghost town.
The walls become a kind of children’s construction game, like an assembly with different types of bricks, which are combined with each other in different ways to end up equally filling the entire space and leaving no gap. Like a kind of tetris architectural. The entire distribution of the entrance loses its meaning and becomes a trace of what that building was, a memory stamped on the blind face.
In these photographs we cannot enter, the frontality and impermeability of the image stops us. We are trapped in a narrow space between our world and the other, which becomes impenetrable. The power of these orthogonal structures and their unitary color reduces the space of the photograph to make it almost a two-dimensional, physical element, hanging in front of us. An element with a great formal and graphic charge, which makes the image vibrate between the figurative and the abstract.