Desiertos dentro de desiertosUn proyecto de Pablo Pro

Finding your place in the world can take a lifetime,

a place where one naturally feels strong.

The desert might be the best of all landscapes

to quench the thirst for answers……

Desiertos dentro de desiertos

Text Lydia Iovane

´9LGD�\�PXHUWHµ��3DEOR�3UR�ňņņŎ

Deserts within Deserts is a voyage connecting the nature of time thru the intuition of the desert landscape.

7HISV�7YV�[YH]LSZ�MVY�TVYL�[OHU�Ä]L�TVU[OZ�IL[^LLU�:VUVYH�HUK�*OPO\HO\H��H�]HZ[�4L_PJHU�[LYYP[VY`�where the photographer lives and photographs his vision of an unordinary reality. A personal territory

^OLYL�[PTL�JLHZLZ�[V�L_PZ[��

´6LOHQFLRµ��3DEOR�3UR�ňņņŎ

His photographs embody – in the form of a logbook - the route of his wandering, from the inside looking out,

which culminates in the discovery of a landscape which belongs to the collective unconsciousness, present in

these open spaces. Taken from the place where creation emerges and the harmonious link between “he who

SVVRZ¹�HUK�OPZ�Z\YYV\UKPUNZ��7HISV»Z�WOV[VNYHWOZ�YLÅLJ[�[OL�[LTWVZ�[OH[�HYPZL�PU�[OLZL�WSHJLZ��[OL�[LTWVYHSP[`�of he who observes and captures the breath, the silence and the lingering of each landscape. This personal

voyage tries to generate a thought process– not a rationale one but rather one that emerges from emotions and

sensations. The photographer has also created an audiovisual work which features his panoramic images taken

in the desert together with the sound of breathing, in a meditative state.

Pablo Pro

´,QWHJUDFLyQµ��3DEOR�3UR�ňņņŎ

¸0�HYYP]LK�PU�4L_PJV�^P[O�[OL�PU[LU[PVU�VM�L_JS\ZP]LS`�WOV[VNYHWOPUN�JHJ[\Z��0»]L�HS^H`Z�MLS[�KYH^U�[V�[OL�personality of these beings - so alive, so near -. During the time I lived in Los Angeles, I had a very special

L_WLYPLUJL�^P[O�H�:HU�(U[VUPV��H�ZWLJPLZ�[OH[�ISVVTZ�Q\Z[�VUL�UPNO[�H�`LHY��0�^HZ�MVY[\UH[L�[V�IL�HISL�[V�^H[JO�[OPZ�YHYL�VJJ\YYLUJL�Ä]L�[PTLZ��6UL�LHJO�`LHY��:VVU�HM[LY�0�SLM[�[OL�OV\ZL��[OL�JHJ[\Z�NYL^�ZPJR��+\YPUN�V\Y�JVL_PZ[LUJL��0�HZJLY[HPULK�[OH[�JHJ[\Z�HYL�[OL�WSHU[Z�[OH[�ILZ[�YLZLTISL�[OL�O\THU�JVUKP[PVU!�they are alone, like us, they have tremendous inner richness, possess a deep knowledge and need

protection. They are true survivors.”

The nature of the disquieting serenity of the deserts, their nearly empty space, apparently inhospitable

HUK�HYPK�� M\SS�VM� SV\K�ZPSLUJLZ��^OLYL�YVV[SLZZULZZ� [OYP]LZ�HUK�[PTL� SP]LZ�VU� PU�HU� PUÄUP[L� PUZ[HU[¯�(SS�[OPZ�JV\SK�HZ�^LSS�IL�HU�L_PSL�VM�SVULSPULZZ�HUK�Z[LYPSL�MLHY��/V^L]LY��[OL�HJJLW[HUJL�VM�VULZLSM�HUK�[OL�OHYTVU`�^P[O�[OL�WSHJL�SLHKZ�[V�H�YV\[PUL�WYVJLZZ��^OPJO�PZ�IV[O�YL]LHSPUN�HUK�PU[LNYH[PUN��6UL�^OLYL�MYLLKVT�YLZPKLZ��̂ OLYL�YLJHWP[\SH[PVU�PZ�H�]P[HS�ULJLZZP[`�HUK�̂ OLYL�VUL�T\Z[�VWLU�\W�PU�VYKLY�[V�L_WVZL�oneself. A process where the soul is shaken inside out and where one is emptied. The dislodged energy

permeates; it lies in the sea of sand dunes in each of the photographer’s deserts, hoping to nurture the

UL_[�[OPYZ[`�[YH]LSLY��

A landscape scattered with images of innocence, surrender and connection, where beauty lies within,

where time is suspended and resonance is translated into natural light. Pablo Pro’s photographs are

snapshots of his own inner clock in order to achieve that inherent state of grace, stripped of all references

and conditions. The key that paves the way towards pure creative intuition, towards an artistic and

WLYZVUHS�[Y\[O��¸4`�ULLK�VM�L_WSVYPUN�WLYZL]LYLZ�

Intro

:SV^S`�0�THUHNL�[V�JV]LY�T`ZLSM�^P[O�H�ZVY[�VM�KP]PUN�Z\P[�ZV�0�JHU�Z\ITLYNL�T`ZLSM�PU�[OL�Z\YYV\UKPUNZ�HUK�HKHW[�[V�P[��;OLU�0�JHU�YPK�T`ZLSM�VM�[OL�V_`NLU�[HUR�HUK�ÄUK�L]LY`[OPUN�PU�[OL�HWWHYLU[�UV[OPUNULZZ��3P[[SL�I`�SP[[SL��[OL�PTTLYZPVU�PZ�L]LY�ZV�UH[\YHS�[OH[�0�ÄUK�T`ZLSM�PU�T`�V^U�LU]PYVUTLU[��0�YLSPUX\PZO�HSS�WH[[LYUZ��KV\I[Z�HUK�MLHYZ�\U[PS�0�HT�M\SS`�H^HYL�[OH[�[OPZ�T\Z[�IL�T`�KHPS`�YV\[PUL!�PU�H�^VYSK�VM�YLZ\S[Z��[OL�796*,::�PZ�^OH[�ILJVTLZ�YLSL]HU[�¹

´(O�PRQMHµ��3DEOR�3UR�ňņņŎ

Pablo Pro$́SHUWXUDµ��3DEOR�3UR�ňņņŎ

Pablo Pro´'HVSHUWDUµ��3DEOR�3UR�ňņņŎ

´7RPD�GH�FRQFLHQFLDµ��3DEOR�3UR�ňņņŎ

´&yVPLFDµ��3DEOR�3UR�ňņņŎ

´3HUFHSFLyQµ��3DEOR�3UR�ňņņŎ

The photographs are taken with a digital camera and

often using a wide-angle lens 16mm–35mm.

The photographer’s eye (having integrated himself in a

WSHJL�HUK�L_WLJ[PUN�UV[OPUN��̂ HUKLYZ�[OY\�[OL�SHUKZJHWLZ�and stops by pure intuition, freezing those instances (the

Q\UJ[\YLZ���7OV[VNYHWOPJ� YL[V\JOPUN� PZ�TPUPTHS�� PU� VYKLY�not to distort reality.

;OL�ZLYPLZ�VM� PTHNLZ�JYLH[L�H�WHUVYHTPJ�ÄLSK�VM�]PZPVU��superior to the human eye and thus creates the sensation

of being able to see 360 degrees. The photographs are

not considered landscape photography but rather are

made with the intention of pulling the viewer in to the

place where they were taken.

Postproduction Techniques

Printed on paper with methacrylate support and backing.

20 minute video composed by panoramic images

where the desert and the cactus come to life. An almost

PTWLYJLW[PISL� L_WHUZPVU� HUK� JVU[YHJ[PVU�� HZ� PM� [OL`�^LYL� IYLH[OPUN�� ;OL� PTHNLZ� ÅV^� HTVUNZ[� [YHUZWHYLU[�transitions that allow them to be perceived as if it were

Q\Z[�VUL�WSHJL�[OH[�PZ�T\[PUN�^P[O�[OL�WHZZPUN�VM�[PTL���

The intention is to induce the viewer into a slow and

meditative state of mind, which will allow him to appreciate

the breathing of the cactus and their condition as a living

being.

The idea is to synchronize the viewer with the tempo

of the images/breathing so his perception is sensorial.

The sound reproduces human breathing, in a deep and

meditative state, accompanying the movement of the

plants. To offer a real panoramic vision, the video will be

]PL^LK�\ZPUN�[^V�/+�MVYTH[�WYVQLJ[VYZ��

Metodología y Desarrollo del trabajo

´6ROHGDGµ�ň[Ň��3DEOR�3UR�ňņņŎ

´8OWLPR�PRPHQWRµ�ň[Ň��3DEOR�3UR�ňņņŎ

´(O�0XHUWRµ�ň[Ň��3DEOR�3UR�ňņņŎ

Pablo Pro

´6HPHMDQWHµ��3DEOR�3UR�ňņņŎ

;OPZ�WYVQLJ[�OHZ�ILLU�JVUJLP]LK�[V�YLJYLH[L�[OL�WYVJLZZ�VM� L_WLYPLUJPUN� [OL� KLZLY[� [OY\� P[Z� H[TVZWOLYL� HUK�sensations.

1.- THE DESERT CROSSING. A hallway whose perimeter

PZ� ¸\WOVSZ[LYLK¹� ^P[O� [OL� KLZLY[� SHUKZJHWL!� ZHUK� ÅVVY�HUK� H� OLH[� VM� ��� KLNYLL�*LSZP\Z�� (STVZ[� PUZ[HU[S �̀� [OL�viewer is transported both in an atmospheric and physical

way. The “door” has a photograph printed on it with the

PU[LU[PVU�VM�L_[LUKPUN�[OL�ZLUZH[PVU�VM�VWLUULZZ�PU[V�[OL�PUÄUP[L�Z\YYV\UKPUNZ�

2.- THE CACTUS.�� �WOV[VNYHWOZ�VM�JHJ[\Z����VM���_��T"� �VM���_�����T�HUK���VM���_��T��WYPU[LK�VU�TL[OHJY`SH[L��̂ PSS�IL�L_OPIP[LK�PU�H�OPNOS`�SP[�HUK�[V[HSS`�̂ OP[L�LUJSVZ\YL���;OL`�^PSS�IL�WYLJLKLK�I`�H�[L_[��̂ OPJO�PU]P[LZ�VUL�[V�YLÅLJ[�HUK�share a world of perceptions and discoveries. TANTITO. >L�IYPUN�MYVT�[OL�KLZLY[�H�SP[[SL�WPLJL��(�*HJ[\Z�̂ V\SK�IL�connected to a stress divisor to measure their changes

and show in a graphical way that they surfer stress like us

3.- HARA. 7YVQLJ[PVU�YVVT�̂ P[O�H�ZHUK�ÅVVY��[V�YLTLTILY�[OL�ZLUZH[PVU�[OH[�[OL�]PL^LY�OHK�^OLU�OL�LU[LYLK��^P[O�H��_�T�ZJYLLU��LX\PWWLK�^P[O�HU�LU]LSVWPUN�ZV\UK�HUK�a large central sitting space with no back support. In the

dark, the sound of deep breathing is heard as panoramic

PTHNLZ� VM� [OL� KLZLY[� HYL� WYVQLJ[LK�� ;OL� PU[LU[PVU� PZ� [V�induce a slow and meditative state of mind in the viewer in

order for him to appreciate the breathing of the cactus and

their condition as living beings. The idea is to synchronize

the viewer with the tempo of the image/breathing so his

perception is more sensorial.

4.- DEAD GARDENS. A room in which the sounds of

trucks driving by are heard. Nine to eleven photographs

�WYPU[LK�VU�WHWLY�����_�����HYL�ZOV^U�PU�^OPJO�[OL�]PL^LY�is transported to a real place where life, death, love and

prayer are the vital constants to the theme. A metaphor

MVY�L_PZ[LUJL��

Descripción del proyectoThe best way to be on land is to step on it.

All the surface will be cover with sand.

´5H]Rµ��3DEOR�3UR�ňņņŎ´9LGDµ��3DEOR�3UR�ňņņŎ

´9LGDµ��3DEOR�3UR�ňņņŎ ´5H]Rµ��3DEOR�3UR�ňņņŎ

7HISV�7YV��4HKYPK��� �����KPYLJ[VY�VM�WOV[VNYHWO �̀�WOV[VNYHWOLY�HUK�JHTLYH�VWLYH[VY��/L�NYHK\H[LZ�MYVT�<�*�3�(���3VZ�(UNLSLZ�^P[O�H�KLNYLL�PU�*PULTH[VNYHWO`�PU�� ���-VY�[OL�MVSSV^PUN���`LHYZ�OL�^VYRZ� PU�ÄST�HUK�SP]LZ�IL[^LLU�3VZ�(UNLSLZ�HUK�5L^�York. He specializes both in nature as well as social oriented documentaries working

VU�]HYPV\Z�WYVQLJ[Z�MVY�5H[PVUHS�.LVNYHWOPJ��))*��*HUHS�7S\Z�-YHUJL�HUK�+PZJV]LY`�*OHUULS��<WVU�OPZ�YL[\YU�[V�:WHPU�OL�^VYRZ�HZ�H�JHTLYH�VWLYH[VY�MVY�[OL�MVSSV^PUN�WYVK\J[PVUZ!�¸,S� SHWPa�KLS�*HYWPU[LYV¹�I`�(U[}U�9LP_H��¸*HUxJ\SH¹�I`�(S]HYV�*HWLSSV��¸3HaVZ�KL�:HUNYL¹�I`�7LKYV�*VZ[H�HUK�¸(S�V[YV� SHKV�KL� SH�UVJOL¹�I`�7H[_P�)HYJV��(Z�+67�MVY�HK]LY[PZPUN��OL�SH[LY�^VYRZ�MVY�*VJH�*VSH��(J\HÄUH��5PRL�HUK�;LSLMVUPJH��HTVUN� V[OLYZ�� /L� PZ� [OL� YLJPWPLU[� VM� )LZ[� 7OV[VNYHWO`� (^HYKZ� MVY� ¸3H�*OPUH¹� I`�+PLNV�7VZ[PNV��������¸,U�LS�OV`V¹�I`�+H]PK�4HY[PU�������HUK�¸,S�7HSHJPV�KL�SH�S\UH¹�by Ione Hernandez, 2009.

/PZ�PU[LYUH[PVUHS�^VYR�JVU[PU\LZ�PU�ÄST�HUK�KVJ\TLU[HYPLZ�^P[O�U\TLYV\Z�WYVK\JLYZ�Z\JO�HZ�;LZZH�3P]PUNZ[VUL��,_LJ\[P]L�7YVK\JLY��))*�MVY�¸*OPSK�VM�V\Y�;PTL¹���*OYPZ[`�/HUUH��¸,HY[O�:[VY`¹��HUK�*SH\KL�.HPNUHYH��¸6U�[OL�9VHK����)L[^LLU������HUK������OL� [LHJOLZ�7OV[VNYHWO`�JV\YZLZ�H[� [OL�-PST�:JOVVS� PU�:HU�(U[VUPV�KL� SVZ�)H|VZ��*\IH��(M[LY�OPZ�LUYPJOPUPUN�L_WLYPLUJL�HZ�H�[LHJOLY��OL�KLJPKLZ�[V�YL[\YU�[V�OPZ�YVV[Z�HZ�WOV[VNYHWOLY�^P[O�[OL�HPT�VM�ZOHYPUN�OPZ�L_WLYPLUJLZ�HUK�JVUJLYUZ��

¸0�OH]L�[OL�HTIP[PV\Z�KYLHT�[V�JYLH[L�WVY[YHP[Z�VM�T`�L_WLYPLUJLZ�[OY\�SPNO[�HUK�[OL�photographic frame. I seek subtleness, the ephemeral, everything that is revealed

before the eyes that come across it.”

´/D�PXHUWHµ��3DEOR�3UR�ňņņŎ ´/D�YLGDµ��3DEOR�3UR�ňņņŎ

´(O�DPRUµ��3DEOR�3UR�ňņņŎ ´(O�UH]Rµ��3DEOR�3UR�ňņņŎ

Desiertos dentro de desiertos