BIG LIFE Magazine BIG LIFE Magazine Edition N°17 - May 19 | Page 69

PARTIENDO DE OBJETOS Y
VIVENCIAS COTIDIANAS, LA
OBRA DE BAYONA REFLEXIO-
NA SOBRE LAS RELACIONES
HUMANO-AMOROSAS Y LA
IDENTIDAD DEL SUJETO.
Starting from objects and everyday life,
Bayona's work reflects on the human-loving
relationships and the identity of the subject.
su formación como estudiante de historia del arte. Den-
tro de su estética, la imagen casi cinematográfica que lo-
gra se caracteriza por una puesta en escena, donde los
decorados y los elementos que la componen son tan im-
portantes como los personajes que desarrollan la acción.
La fluidez y el movimiento de cada fotografía le permiten
contar historias completas, divididas en series de títulos
como «Circus Christi», «Once upon a time», «Long, long
time ago…», y «What never was».
En cada una de sus exposiciones, exhibidas en su sitio
web, hay una introducción a modo de prólogo explicati-
vo para dar paso al mundo mágico, extraño y simbólica-
mente cargado de sus fotografías. Aunque no tiene una
técnica definida, su firma se encuentra en el lenguaje de
su obra, sus preocupaciones profundas y su interés en ex-
plorar el trasfondo de su corazón, un guiño a la existencia
de todo aquel que admire su obra.
capacity to mold it to his liking, regardless of his lack of technical knowledge, that
many other photographers of his standing possess. Bayona always gets the result he
wants. His images are recognizable for the environments he constructs, the composi-
tion, the lighting or the reminiscence of his art history training. His aesthetic depicts
a nearly cinematographic image characterized by a stage where the decoration and
components are just as important as the acting characters. The flow and movement of
each photograph tell complete three-piece stories, like “Circus Christi”, “Once Upon a
Time” and “What Never Was”. Each of his exhibits, broadcasted from his website, has
a sort of explicative prologue that introduces us to the magical, strange and loaded
with symbolism world in his photographs. Although his technique is not the cleanest,
his signature is easily distinguishable in the language of his work, a look into his
existence: his worries and deep interests.
67