Uterus or Invisiblity
In a witty essay about the permanency at home, Patricia Martelaere blemishes, with her distinguisable humor, the idyllic images people frequently cast of their home and of their permanency in it: a place where one should, materially, be able to track down his own identity. This is what one expects or fears depending on the case. But, being at home, most of the time, is something very different, almost more than feeling like a foreigner abroad. It’s a place where things turn invisible, where we stop making use of our senses in order to explore the world. At home we place our capacity of observation at ground zero.
Our home is the place where the world becomes invisible, giving us the tranquility we need to think about faraway things. At home, these things hide beneath their own notoriety, everything disappears and are neutralized, objects and perspectives seem to be asleep, nothing astonishing can wake them up, we walk through things without obstacles and we are all alone. This is what we call home. It’s the place where we can be with ourselves without interference, not because we are somewhere but because we are nowhere. The place and things turn so invisible that they give us time to draw a mental space, created from our own image and likeness; weariness, uneasiness and pain are reduced to the minimum. This is why our permanency at home is uterine and ceaselessly conceals the danger itself of a regression. It takes us back to a world where we float weightlessly and with our eyes opened, while there is no need to see almost nothing and the sound of reality barely penetrates like passing through a wall, like skin which protects and lighten us. In the uterus of our home we live in a regressive way but it is the place where we incubate the strenght for tomorrow to face a new day.
JM Ramirez‐Suassi (1970) was born in Mallorca (Spain) and now lives and works in Madrid. His photographs, wich at first sight appears to fit seamlessly into the great nowhere, involve many visits to the same landscapes to observe the change year after year. His work occupies an ambiguous position somewhere between portraiture and social landscape. Peripheries, Wrong side of the road, Faith and mirage, and Mountains facing our town is an ongoing series documenting the outskirts of the city Madrid and Mexico City. Nonetheless, recent work (Eden or The Days of the Barber’s Winding Sheet and Uterus or invisibility) also emphasizes seemingly casual shots of his family and friends. JM Ramirez‐Suassi exhibited his artwork in Europe and USA. He’s a self‐taught.
all images and text © JM Ramirez Suassi