Rocío Romero is with foot in Madrid and another in New York, with Imagen Subliminal has become the reference photographer of much of the architecture made in Madrid in recent years together with her professional partner Miguel de Guzmán. In recent years, this field of action where, as she likes to say, "freezes time", has expanded to the other side of the Atlantic, and New York has become her second home.
Rocío Romero works the photography from two ways. The first could be the most innovative, the generation of new narratives about architectural spaces, implementing stories and making them perceived as places. The second equally powerful, also more orthodox, extracting the essence of the architectural space without additives, to the naked. From these two ways of treating the image arises a third complementary way, the moving image is to say the video, something that has characterized the firm.
Her treatment of the image is difficult to separate from her interaction with Miguel de Guzmán, although he has always insisted that the two names appear as authors in parallel, her photographs, her images often include people jumping, dancing, dancing, performing performances, in spaces of colors.
The color in her photographs is almost a brand, she controls the tones without saturating them, but activating them and making notice their presence. Her images always radiate optimism and it is something that has infected part of the architecture that she photographs.
What led you to the photograph?
I have always been attracted to the idea of capturing time, freezing it in a fixed image as a counterpoint to the speed in which life unfolds. Although good, it was a facet that I could not develop until later, when with the first scholarship I was able to buy my first camera.
Why architectural photography?
Already studying architecture was the most desired moment of the process. I made the models on hand to be able to photograph them with the camera. Because even if all the camera options and possible angles were in 3D, it was not the same sensation, logically. I am delighted because we say that I have combined two of my great passions: photography and architecture.
A photographer that you consider a reference?
The same is not to get wet very much, but I am fascinated by the more social side of Iwan Baan. Not the most obvious part because they are impressive projects, but the most social reports that he makes. I find fascinating stories.
Build photography, ideas, inspiration? What do you prefer to capture spaces or create places?
Actually both options have their magic and their background. Sometimes creating an invented argument helps to better understand or give more strength to an architectural idea. In others, the essence itself speaks for itself without the need to include other elements.
Is there a photograph that you would have or would like to make?
Clear! Many! To cite some examples: The 7th Room by Snohetta. The installation of Invasions by Charles Pétillon, the congress palace of Selgas Cano in Plasencia ... a thousand more :)
