Nayra Sanz Fuentes
2021Sub Terrae
Nayra Sanz Fuentes
The camera leads us through a maze of cemeteries surrounded by vultures, and the trek ends with a view of a garbage dump. Sub Terrae poetically echoes with showing us such a terrifying terror: dystopian imagery of the foreseeable future, which is being seen from the current death chamber where the people of the past buried, signifying the contemporary global crisis in the present.
Sub Terrae
Derivas
Nayra Sanz Fuentes
The beginning of the twenty-first century is marked by a contradictory intersection between the transformation of the global economy and the revolution in new technologies. These two disparate new realities have disrupted customs and traditions and are now bearing witness to different drifts, some with times that anesthetize and others that excite and exhilarate, yet without knowing where they are heading. The place portrayed in Derivas (Drifts), associated with the frontier of the sea and fishing boats, begins to be occupied by nomadic flows of people whose interests are very different to the origin of this place, completely redrawing and resituating new events.
Drifts
Selfie
Nayra Sanz Fuentes
In this conceptual and sensorial miniature, the concept of social (self) portrait is rethought, playing with the distortions of a Big Brother who watches us impassively. A technological state of permanent control, of mechanization of a daily life dominated by the ingenuities that the human being has created and that have finally taken control of our lives.
Selfie
