Lucía Gorostegui Lucía Gorostegui has been trained in Physics studies. Clearly part of the younger group, literally speaking. Her references and her admiration for the work of Mariela Apollonio or Imagen Subliminal presented she within a group of women photographers who, thanks to the path taken by the previous generation, find references and works of women photographers on which to build her own work.
The incredible strength, security and solidity with which she presents her way of working through abstraction, (for her always a narration of light and lines) is another example of how she has absorbed Apollonio's work with maturity and surprising personalization. Perhaps the best example of her first step in that line were her photographs for "jj55 in the abstract", a work on the shoe store that Paco Alonso designed 30 years before and that never opened to the public.
A women photographer who with her work values to her referents, pointing out new and surprising ways with her overwhelming shots. Images that leave you breathless before your exceptional naked beauty. Her statement of intent for photography may seem radical and yet when you look at her work, it seems to fall short. An incipient and at the same time exceptional work.
The incredible strength, security and solidity with which she presents her way of working through abstraction, (for her always a narration of light and lines) is another example of how she has absorbed Apollonio's work with maturity and surprising personalization. Perhaps the best example of her first step in that line were her photographs for "jj55 in the abstract", a work on the shoe store that Paco Alonso designed 30 years before and that never opened to the public.
A women photographer who with her work values to her referents, pointing out new and surprising ways with her overwhelming shots. Images that leave you breathless before your exceptional naked beauty. Her statement of intent for photography may seem radical and yet when you look at her work, it seems to fall short. An incipient and at the same time exceptional work.
What led you to the photography?
Since my childhood, my home and free time with my family have been imbued with photography: not in its production, but in its contemplation. Innumerable books and exhibitions.
I develop a visual culture that soon calls me to action, to be part of it. I start taking pictures in the university, during my studies of Physics: I internalize the technical part very fast, and then it's all left to play ...
I develop a visual culture that soon calls me to action, to be part of it. I start taking pictures in the university, during my studies of Physics: I internalize the technical part very fast, and then it's all left to play ...
Why architectural photography?
I discover my vocation: architecture photography combines my technical interests with my more artistic and communicative concerns. Light and lines are no longer the physical and technical elements that were in my academic training, to be the narrative tools that are in my life.
A photographer that you consider a reference?
Not to mention indisputable classics, I choose two contemporary Spanish photographers.
Mariela Apollonio has inspired me from the beginning, I think the brave word defines her way of facing the shadows ... Dominio, of course, would also fit, but her reading goes beyond that.
I admire the work of Subliminal Image, its unique line, I would say, of Investigation with a capital letter, is a reference.
Mariela Apollonio has inspired me from the beginning, I think the brave word defines her way of facing the shadows ... Dominio, of course, would also fit, but her reading goes beyond that.
I admire the work of Subliminal Image, its unique line, I would say, of Investigation with a capital letter, is a reference.
Build photography, ideas, inspiration? What do you prefer to capture spaces or create places?
The balance is balancing between a line of observation and patience (that shaping light, which is expected) in which I capture spaces, and a more committed work, in which to create and interpret more freely. I have a project underway, a photographic study about an element built by me, -it will not be a space but rather a sculpture, only volume, texture and light-.
Your first camera? And now?
My first camera is not very relevant, because I started working directly in digital and at not an early age.
I start now a very special stage with a Hasselblad Flexbody, working in analog for very specific orders. This identifies my vision of architectural photography, creating voluminous images, in which the eyes walk, while remaining faithful to reality.
I start now a very special stage with a Hasselblad Flexbody, working in analog for very specific orders. This identifies my vision of architectural photography, creating voluminous images, in which the eyes walk, while remaining faithful to reality.
Is there a photograph that you would have or would like to make?
It is not very original, but I identify a lot with the architecture of Luis Barragán, and so much color is a challenge that I would love ... The trip will come.
Closer, shorter term, and more monochromatic: the Museum of Royal Collections, Tuñón and Mansilla.
Closer, shorter term, and more monochromatic: the Museum of Royal Collections, Tuñón and Mansilla.
![Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés](/sites/default/files/styles/mopis_home_news_category_slider_desktop/public/lead-images/metalocus_narelle-jubellin_carta-aberta_22_2p.webp?h=3b4e7bc7&itok=ALbdeJ3O "Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés")
