Desierto Sur,  2013 - 2019
















Understanding unaltered geography, contemplate diverse scenarios delivered during a day and depict those aspects with a sense of timeless and slowness. I was brought up in the compulsive city of Lima_Peru, as a child, my parents took any holiday to do long road trips, in many occasions, my father drove from Lima to Santiago de Chile -4000km/45hrs- which is a straight line on the Pan American Road which settles on a desert all the way, those trips and the immense amount of time I spent looking through our car window, still in my back memory, a vast panorama where I remember an infinite desert on one side and an infinite Ocean on the opposite side.
During the day the desert fluctuates between different periods of temperatures, winds and humidity, the landscape transforms quickly and it is very easy to experience a completely different scenario in a short moment, that frequency fascinates me, for me those changes are natural and metaphorical at the same time, those insignificant natural transitions suggest something big from something small where the unreadable imprinted human activity makes it difficult for my memory to relocate itself in that vast scenario.




Desierto Sur - Southern Desert The southern desert of Peru is a vast land that runs from Lima to the border with Chile, located between The Andes Range and The Pacific Ocean. For this project, I travelled extensively in the area for 7 years. 

Mark

Sur Chico, 2013 -










One of my earliest memories is travelling with my family from Lima, Peru down to 121 kilometer on the South Pan-American road. I recall almost every kilometre of the journey, an empty vast desert splashed from time to time with green valleys and the Pacific Ocean not far from my window. That area is called Sur Chico by the locals and this project reflects on the exponential change of what used to be an empty desert.
Through the project Sur Chico, I intend to explore the changes that have been altering our collective memory concerning the environment: the empty desert, the green valleys, our traditions and habits, reflecting on the urban condition generated by accelerated economic growth, focusing on Peru. 
There has been exponential economic growth in Peru during the last decade, resulting in the population migrating from the provinces to the urban centre of Lima. Rural-to-urban migrants who are building their homes and entire neighbourhoods where previously there was only desert.





Local Migration to Lima has occured in great waves from Peru's countryside in search of economic opportunity, turning Lima into the 2nd largest city in America, for decades and with the hope of better work and education people from the Andes and Amazon moved into Lima and developed the so-called Pueblos Jovenes - New towns, settled on very different terrains, on hillsides, river banks and wide sandy expanses occupied by different modes: by slow accreditation or by invasions at different periods, some pueblos jovenes are still in the process of formation, others have been developing for 30 years1. People first  built precarious homes with simple materials to then develop entire neighbourhoods where previously there was an empty desert. The migration proliferated during the 1980s as people flew off from internal conflicts developed by terrorism groups on Peru's countryside.
Internal migration continues to occur, people organize in groups to try to take possession of empty land by building their homes in it, the most populate borroughs in Lima started as Young Towns.
1The ‘Young Towns’ of Lima : Aspects of Urbanization in Peru, Peter Lloyd.




The South Pan-American Highway -which is the main way use it to transit From Lima to the South of the country, and vice-versa- is a straight line that runs Parallel to Pacific ocean and is part of the main Pan_American Highway that crosses all the American continent.-the project explores the area that involves from lima until kilometre 150 of South Pan-American Highway-.

Mark

Stability & Constructivity, 2017

 




3 m W - 1.80 m H

Glass
Paper
Perspex
Steel
Wood


Stability refers to a balanced and harmonious expression delivered by the relationship between elements contained within a defined space.

Constructivity
refers to build by re-organizing already defined elements, redesigning their functionality and space which they belong to.

The project suggests a re-interpretation of the photograph as a reality in order to work with the materiality of the photograph and how the photograph could be used as an object that directs the viewer's body position within the space, where the photograph instead of containing something becomes a solid three-dimensional structure part of something else.

MaterialityExplores the materials involved in the photograph, to further experiment with their properties and behaviours searching ways to free these elements from their symbolism and connotations, to also disassociate them from their meaning in traditional narrative or language. Therefore, I propose to work with the pure material substance, its colour and form, and the psychology behind our relationship to material and form. I aim to suggest that elements can’t stand on their own as the process of making the work will bring those different elements together -instead of being independent physical objects they form part of something else-.
FragmentationPlays with the limits of how to present the work and suggested the viewer different possibilities/perspectives on how to experience it. Therefore, I propose to fragment the photograph in order to allow the viewer to decide how he/she wants to experience the work and redefine the suggested space while the work is experienced. For that reason, the work isn’t finished, it changes its configuration with each step that the viewer takes -a new space is built each time the work is experienced-.
FramingOpens the frame and separates all the elements that compromise a framed photograph to then rearrange them in order to deliver an experience that challenges the standards of how we experience a photograph. Therefore, I propose to work with photography conventions in order to be able to play with the limits of how to present a photograph. Also dismantling the photograph instead of the photograph being contained by a frame the frame opens and becomes an element of the work, where the photograph could rest. I aim that the viewer looks beyond the frame and experiences the work not on a two-dimensional surface, but encourages the viewer to move around the work, suggesting many ways to experience it due to its capacity to transform by what surrounds it. I intent to question the possibilities of the photograph to become something else without losing its integrity -its independence is what I find attractive-

Mark

South End, 2012 - 2015














The Tittle South End comes initially from the name South End On The Sea, a seaside town located on the south coast of England, I visited the area not far on time from when I arrived in the UK to start a new period in my life, until that moment I didn’t recognise that I was starting a life in an island, as for me the UK was an extension of the main continent and not a separate land. 
I am originally from Peru in South America, where we always use the term “moving/going down” when we mention moving South and the concept exists with the metaphorical idea of an End. The name South End On The Sea triggered me the idea of an/the End from the new place where I have just moved. Thinking at the same time on historical periods were those towns and places were named and when was thought that the UK was the centre of the world.  The tittle South End shows the profile of an island based on the unique way British people have at the time to relate with the seaside.




He spent two years travelling around the south coast looking to experience “a different way to approach the seaside,” in accordance with his interest in the concept of visual architecture, and found himself “fascinated by
the nature and culture around the south coast.” And before you find yourself struggling to suppress a snigger, fellow Brits, take a look at the shots he has captured, because they actually look quite idyllic.
Illuminated on a rare sunny day and complete with rocky cliffs, grassy hills and the occasional windbreaker, Jorge’s series does as much to prove that Southend-on-Sea and various other beaches around the south coast can be really lovely places, as he does to prove that the flying of flags is by no mean limited to supporting the team during a World Cup or for flaunting at royal weddings. It’s not often holidaying Brits are given a nod for their nature or culture, so let’s make the most of it while it lasts.
Maisie Skidmore - It’s Nice that review

Mark

Vastness, 2013 -






   


   




























There is a Threshold that defines Inside and Outside, a place where human beings have established a significance frontier for the now and after.  Without been real, the threshold is considered an intimate space. Therefore, the start point is called the current space, and the next one after, the unknown exterior. The threshold settles while contemplating an immense space, that contemplation of immensity determines the pure state that takes us to a parallel world. Be present in a great space is a personal moment constantly repressed by everyday life. Therefore, a vast space could position us inside a dream.
With this series of landscapes I intend to awaken in the viewer the importance of the relationship with immense spaces and make the aware of how the world and nature are presented to us.

Mark