︎︎︎ Return

In 2015, soon after moving to the U.K. I started to listen to dancehall music - which originates in Jamaica but has a strong presence in the U.K.. I became interested in the sound and lyrics that were new for me at the time, but also in the movement as a form of resistance within the context of British colonial history. Coming from Galicia, a territory which holds a history of cultural oppression -most recently during the fascist regime that finished in 1975-  I became interested in the contestation and political values retained within Dancehall.

I started to attend dancehall parties in London, Bristol and Birmingham and soon became frustrated with the images from photographing the events as an observer. Through questioning the photographic medium and its potential, I began arranging encounters with people I had met at the parties, starting a process that would last for three years and which was allowing me to have an active part within the process - and establish stronger relationships which otherwise might not have taken place. The outcome was the documentation of both an encounter and a collision that became central to the series, as well as to my future way of working.

The work's title is in reference to Dr Carolyn Cooper’s book ‘Noises in the Blood: Orality, Gender, and the"Vulgar'' Body of Jamaican Popular Culture’. Through studying Cooper’s work ideas around femininity and its perception within the West became a further point of reflection for the series. I gained perspective from Eurocentric ideas of womanhood through encountering a different understanding to the canon of beauty that prizes fragility and prudence, in opposition to a more assertive role in relation to one's own body and sexuality. At the end, the images trascended the initial motivations to touch upon universal themes such as birth, love, sex, and death.

‘Noises’ was exhibited at Fishbar alongside a limited edition Leporello catalog of the work published by Fishbar Books.