︎︎︎ Return


¿A qué volvéis los ojos que no os acuerde de la muerte? Vuestro vestido que se gasta, la casa que se cae, el muro que envejece y hasta el sueño cada día os acuerda de la muerte, retratándose en si. Pues, ¿Cómo puede haber hombre que se muera de repente en el mundo si siempre lo andan avisando tantas cosas? No os habéis de llamar, no, gente que murió de repente, sino gente que murió incrédula de que podía morir así, sabiendo con cuán secretos pies entra la muerte en la mayor mocedad y que en una misma hora , en dar bien y mal, suele ser madre y madrastra. 


Los Sueños, 1605-1622, Francisco de Quevedo


“Do ye complain” says he, “of sudden death?” that have carried death about ye, ever since you were born; that have been entertained with daily spectacles of carcasses and funerals; that have heard so many sermons upon the subject; and read so many good books upon the frailty of life and the certainty of death. Do ye not know that every moment ye live brings ye nearer to your end? Your clothes wear out, your woods and your houses decay, and yet ye look that your bodies should be immortal. What are the common accidents and diseases of life, but so many warnings to provide yourself for a remove? Ye have death at the table, in your daily food and nourishment; for your life is maintained by the death of other creatures. And you have the lively picture of it, every night for your bedfellow.


                                                                                   Fragment of The Sixth Vision of Hell,
                                                                    from The Visions, 1927. Francisco de Quevedo



Semana Santa chiquita -Tiny Holy Week- in Puente Genil, Córdoba (Spain) is a reproduction of the Semana Santa of Puente Genil represented by children. This manifestation of popular religiosity has always been received with some regret by the catholic church, perhaps existing in looser and more celebratory realms than the authorities might have wished.

The short series of photographs fits into an ongoing photographic study of my homeland, but it is more pertinently part of a larger, personal exploration of the functions that religious and mythological manifestations have in our collective experience.