Kaleidoscopic Days
Kaleidoscopic Days is a photographic series that explores everyday life through a hypnotic visual language, revealing a new perspective on the ordinary.
The idea of routine as something almost hypnotic had been with me for a long time, but it was during the lockdown in Spain, brought on by the global health crisis, that the project finally took shape. During that period, ordinary objects, gestures and daily rituals were pushed to their limits, becoming the foundation of the series' visual language.
Kaleidoscopic Days is neither a diary nor a documentary record of a specific moment in time. It is an open-ended project that continues to evolve beyond the circumstances that inspired its origin.
The photographs are built from fragments of my own everyday life, placing the work within the territory of self-portraiture. At the same time, these objects and situations are universally familiar, allowing viewers to recognize aspects of their own routines and creating a subtle dialogue between personal and collective experience.
The series ranges from recipes prepared immediately after each photograph was taken—seasonal vegetable stew, mushroom scramble, roasted peppers with chistorra, baked sea bass—to intimate domestic scenes such as changing my baby's diapers, working from home, exercising indoors or documenting the technological tools that became part of everyday life. Other images portray my father's homemade pacharán alongside bottles of wine, transforming a simple still life into a reflection on evening rituals and the intimate dimension of daily existence.
The production process also evolved alongside the confinement itself. I initially photographed the series in my studio using artificial lighting before post-producing each image. As the weeks passed, however, the need for fresh air and sunlight led me to the terrace, where natural light became an essential part of the project. The stronger contrasts, richer colours and deeper shadows brought a new visual intensity to the work, while the act of stepping outside became a daily form of therapy.
Art direction plays a central role in conveying the project's visual language. Monochromatic backgrounds isolate the compositions, directing the viewer's attention entirely towards the arrangement of the objects. Through carefully constructed symmetries at 45°, 90° and 180°, everyday elements lose their individual identities and become part of larger geometric patterns. Seen from a bird's-eye view, these compositions evoke repetition, dizziness and visual immersion, transforming ordinary objects into almost abstract landscapes.
Geometry, aesthetics, symmetry, immersion, repetition and hypnosis define the visual vocabulary of Kaleidoscopic Days. The project seeks to present the mundane through an aesthetic lens while creating a subtle sense of visual disorientation that encourages viewers to reflect on the repetitive nature of their own daily lives.
The title itself reflects this intention. The word kaleidoscope derives from the Greek kalós (beautiful), eîdos (form or image) and skopeîn (to observe). Combined with the word Days, it becomes a way of describing the act of observing fragments of everyday reality through a suggestive optical device—transforming the familiar into something unexpected.
Kaleidoscopic Days is a photographic series that explores everyday life through a hypnotic visual language, revealing a new perspective on the ordinary.
The idea of routine as something almost hypnotic had been with me for a long time, but it was during the lockdown in Spain, brought on by the global health crisis, that the project finally took shape. During that period, ordinary objects, gestures and daily rituals were pushed to their limits, becoming the foundation of the series' visual language.
Kaleidoscopic Days is neither a diary nor a documentary record of a specific moment in time. It is an open-ended project that continues to evolve beyond the circumstances that inspired its origin.
The photographs are built from fragments of my own everyday life, placing the work within the territory of self-portraiture. At the same time, these objects and situations are universally familiar, allowing viewers to recognize aspects of their own routines and creating a subtle dialogue between personal and collective experience.
The series ranges from recipes prepared immediately after each photograph was taken—seasonal vegetable stew, mushroom scramble, roasted peppers with chistorra, baked sea bass—to intimate domestic scenes such as changing my baby's diapers, working from home, exercising indoors or documenting the technological tools that became part of everyday life. Other images portray my father's homemade pacharán alongside bottles of wine, transforming a simple still life into a reflection on evening rituals and the intimate dimension of daily existence.
The production process also evolved alongside the confinement itself. I initially photographed the series in my studio using artificial lighting before post-producing each image. As the weeks passed, however, the need for fresh air and sunlight led me to the terrace, where natural light became an essential part of the project. The stronger contrasts, richer colours and deeper shadows brought a new visual intensity to the work, while the act of stepping outside became a daily form of therapy.
Art direction plays a central role in conveying the project's visual language. Monochromatic backgrounds isolate the compositions, directing the viewer's attention entirely towards the arrangement of the objects. Through carefully constructed symmetries at 45°, 90° and 180°, everyday elements lose their individual identities and become part of larger geometric patterns. Seen from a bird's-eye view, these compositions evoke repetition, dizziness and visual immersion, transforming ordinary objects into almost abstract landscapes.
Geometry, aesthetics, symmetry, immersion, repetition and hypnosis define the visual vocabulary of Kaleidoscopic Days. The project seeks to present the mundane through an aesthetic lens while creating a subtle sense of visual disorientation that encourages viewers to reflect on the repetitive nature of their own daily lives.
The title itself reflects this intention. The word kaleidoscope derives from the Greek kalós (beautiful), eîdos (form or image) and skopeîn (to observe). Combined with the word Days, it becomes a way of describing the act of observing fragments of everyday reality through a suggestive optical device—transforming the familiar into something unexpected.
Collect this work — [ediciones relacionadas, pendiente de vincular]
Collect this work — [ediciones relacionadas, pendiente de vincular]
GALLERY — 14 images
