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    • when rain falls >
      • as it blurs, a wash of rain also takes away a certain degree of clarity while retaining a degree of distorting translucence
    • underground encounters >
      • descending into the depths of the metro is like crossing the threshold between inner and outer human experience, “... in any case, there was only one tunnel, dark and solitary: mine. “... en todo caso, había un solo túnel...
    • consumptions >
      • is an on-going project that approaches civic space as a suggestive canvass of consumption where reality and fiction cross both visually and ideologically
    • cuba waiting >
      • waiting in cuba is what people do, it is a cultural demeanor, a state of mind
    • cuba, una sola idea / a single will >
      • what are we and what will we be but a unique history, a unique idea, a unique will for all time
    • the tunnel of deceit: the barracks >
      • the tunnel was built, the train didn't come
    • the tunnel of deceit: the station that never was >
      • horses and lettered walls
    • unlimited growth inc: writings on the wall, spaces within, spaces whatever >
      • Beyond documenting a suggestive urban setting that displays contrasting civic structures and expressly comments on our global consumer culture, the images explore qualities of subjacent spaces-within...
      • they are fragments of a larger whole, and they are graphic instances of the allusive potentialities of light, darkness, color, disconnection and emptiness characteristic of any-space-whatevers.
    • riot night in canada: vancouver, june 2011 >
      • In as much as some of the store windows displayed mannequins -mostly of female figures-, and commercialized images of alluring femininity, the resulting violence also portrays an implicit aggression, intended or not, towards the human (female) body.
      • The initial photographs have been partially re-imagined and are presented cropped, refragmented, fractured, to establish a complementary relation between elements of form and content.
      • A fragmented/fractured style to portray, and correspond to, a moment of fractured civility.
    • "soy una raya en el mar fantasma en la ciudad": am a ghost in the city, a line in the water, a ray in the sea >
      • "pa una ciudad del norte / yo me fui a trabajar / mi vida la dejé / entre ceuta y gibraltar / soy una raya en el mar / fantasma en la ciudad / mi vida va prohibida / dice la autoridad..." (Manu Chao, Clandestino)
      • to a city in the north / I went looking for work / I left my life / between Africa and Europe / I'm a line, a dash, a ray / in the sea / a ghost in the city / my life is forbidden / according to the law…
    • scenes unseen >
      • to come
enrique manchon photographs...

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The photographic act is, for me,  a way of exploring and manifesting the inner voice that essentially guides my responses to immediate and accumulated experience.

There is a notion related to the creative process and advanced by the poet Baudelaire that has helped me understand the nature of photographic seeing.  Baudelaire proposes that all things out there, in the external world, are signs and symbols whose relationships and analogies may be deciphered by the sensibility and imagination of artists. If one can envision the conglomerate of all things that make up our world as a type of hieroglyphic that needs to be understood, then photographic images can serve to decipher or interpret segments of that scenic and enigmatic whole.  Photographs need not explain, but they can suggest or insinuate meaning.


My images tend to reflect the external effects of modernization: global consumerism, urban evolution with its contrasting cycles of growth and decay, social marginalization and disconnection.  I tread urban space and seek the sense of chance discovery that is deemed characteristic of street photography, but images that might appear to be the result of a casual discovery are often informed by conceptual preoccupations and designs.

I am interested in the narrative dimensions created by pairs or series of thematically related images. My latest works advance a style of visual articulation that consists in the seamless merging of inter-referential photographs.



Biography 

Born in Santander, Spain, in 1950, Enrique Manchon has lived in Vancouver since 1965.  He studied Fine Arts (BFA, 1973) and Spanish Literature (MA, 1982) at the University of British Columbia and now teaches in the Department of French,  Hispanic and Italian Studies at UBC.  His work has been part of group exhibitions at the Gallery of  Photography, SUB Gallery at UBC, Simon Fraser Gallery, Simon Patrich Gallery and Elliott Louis Gallery.

 
Group Exhibitions
 
2010    Elliot Louis Gallery, Vancouver,  BC.
2001    Photography 9x10, Simon Patrich Gallery, Vancouver,  BC.
2000    Photographers 9+1, Simon Patrich Gallery, Vancouver,  BC.
1999    West Coast Photographers 8x8, Simon Patrich Gallery, Vancouver,  BC.
1991    Robson Street Merchants, Vancouver’s Vancouver Photographic Competition,  Honourable  Mention.
1975    The Fourth Annual British Columbia Photographers Exhibition, Simon Fraser Gallery,   Burnaby, B.C., 
            Review and photo published in The BC Photographer, Winter 1975.
1974    Gallery of Photography, Vancouver,  BC.
1973    Photo Show, S.U.B. Gallery,  University of British Columbia, Vancouver, BC.







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