Solo Show

Joan Prats Art Gallery

The first artist I decided to photograph was EVRU. He expressed a preference for being photographed in Barcelona, specifically by the sea. I picked him up at 4 am in front of the Joan Prats-artgrafic gallery, where he was living and exhibiting at the time. We drove down Balmes street until we reached Barceloneta. Once there, we found a pier near the Olympic harbor that we liked. At that point, he began to undress as he preferred to be photographed nude. It was exhilarating for me to have the opportunity to capture images of my first artist in such a manner. The shoot went smoothly, with splendid morning light and beautiful clouds. The effect of the light on the stones was remarkable, revealing two distinct colors. I selected a large rock for Evru to pose on. As he sat there, resembling someone who had just landed from another planet, a fisherman approached us. Upon realizing that Evru was completely nude, the fisherman hastily retreated:

I met PEREJAUME in Sant Pol de Mar. He suggested we take a walk on the beach, where I observed him deep in thought, gazing at the horizon. Although brief, it was a pleasant encounter. We met again at his house in Sant Pol, accompanied by Esther Xargay, who intended to film and interview him for a program about the poet Maria Mercè Marçal. As Perejaume focused on the interview, I positioned a Catalan wine jar from his kitchen between him and my camera. It was crucial for me to highlight his Catalan identity, just as I did the first day we met on the beach, with him wearing his "Espardenyes" (tipical catalan shoes):

My first encounter with JORDI ALCARAZ was the day after I met Perejaume on the beach. I was already familiar with his work, which I admired from the first time I saw it. We had been postponing our meeting, waiting for the orange tree to bear fruit, as he is deeply fond of his orange tree garden. I photographed him against the wall of his patio, in the shadow of the orange tree leaves. In another image, he is depicted peering through black holes, pondering how long it would take for the oranges to transition from their intense green to their usual color:

I visited JOSEP GUINOVART at his home in Castelldefels. It was one of those intensely sunny days, and I regretted leaving my sunglasses at home. Thankfully, I had my special filters, which saved me from the harsh light for taking pictures. He greeted me at the door and led me into his garden. I realized that for many of us, a garden is a cherished and private corner of paradise, a space that connects us to the world around us, no matter how small. It was reminiscent of Jordi Alcaraz's orange tree garden. We explored various corners of the garden, filled with memories of his past, marked by his experiences with dry land, clay, fields, and cultivation. One could sense the presence, perhaps only through imagined sensations, of the land where he was born, Lleida. I returned for a second visit to capture more moments from his life, during which he expressed his concerns about the war in Lebanon and its impact on children:

JAUME PLENSA invited me to his studio, the only place where he feels comfortable sharing his magical realm of creation. I typically avoid studios, believing creativity flourishes elsewhere, in places where we recharge and emotions intensify. These places may sometimes feel distant or exist only in our minds, requiring dreams to reach them. However, Plensa dedicated the entire morning to me, seemingly reading my thoughts as he immersed himself in one of his immense sculptures. Everything seemed to freeze as we tamed the wild essence within his creation. Captivated by the moment, I decided to capture a sequence of photos as he emerged from the sculpture. I compiled these images into a small book, a pocket video that comes to life at my command. Plensa shares a profound connection with his sculptures; even these massive structures seem to whisper to him. A master of allure creates even more captivating works. The enchantment in his sculptures is so profound that time will never diminish their impact on my mind:

FREDERIC AMAT greeted me with a hint of shyness during our initial meeting, yet I sensed within him the allure of a great seducer, albeit a bit more reserved than Plensa. We captured photographs in various corners of his home and garden, where he proudly introduced me to his young son. I witnessed the sparkle in his eyes, the smile of a contented father delighted to have his precious child by his side. I seized the opportunity to capture images of them together. Upon returning for another visit, I found him more at ease than before. He introduced me to his wife, and to our surprise, she was working with some of my photographs for a scientific-artistic book she was designing. That day, we began experimenting with ideas for the photographic sequences of my flipbooks. Jordi Alcaraz mentioned that Brossa referred to these miniature movement books as FOLISCOPIS, inspiring me to adopt the same name for my creations:

The first time I visited ALBERT RÀFOLS-CASAMADA and MARIA GIRONA was at their flat in Barcelona. Ràfols mentioned that the corner with his armchair held special significance for him. I observed Maria's attentive demeanor towards her husband, evidencing her care for him. As I photographed them together, a sense of magic enveloped us. Instead of seeing two elderly individuals, I beheld two teenagers deeply in love, sharing smiles and private moments. They appeared stunningly beautiful beside each other. I couldn't help but wonder about the multitude of experiences they have shared throughout their lives:

ANTONI TÀPIES and his wife Teresa filled me with excitement during our brief encounter. They exuded warmth and kindness. I felt a rush of nerves when Tàpies approached me, showing genuine interest in my studies and belongings, asking various questions while looking into my eyes. It was surreal to interact with this legend whom I never imagined meeting. Initially overwhelmed with a mixture of fear and respect, I quickly regained composure and felt like myself again. We met again, this time at Can Pins, his summer studio where he produces the majority of his prolific work. It's typically inaccessible to visitors, but I was fortunate to receive an invitation from him and his wife:

One day, I decided to visit Valence to see CARMEN CALVO. During my two-day stay, she took excellent care of me, making me feel incredibly comfortable. She escorted me to her old studio, a space she had occupied since the beginning, now empty but brimming with memories. There was a nostalgic aura within those ruins, in stark contrast to her new studio, a modern space where she is gradually infusing her personal touch. It seemed as though she was beginning to acclimate to this transition:

With JORGE POMBO, we talked extensively, meeting for numerous coffee sessions. Eventually, we decided to embark on a train journey together. I sensed that one of his cherished places was during travel; he enjoyed observing and absorbing everything happening around him. He struck me as a profound thinker who fills his thoughts with rich content, leaving no empty spaces:

ALFONS BORRELL greeted me at the train station in Sabadell and suggested we spend some time in his vibrant garden, which he described as a special place. He has a collection of turtles, as he breeds indigenous species to support a rehabilitation center for these animals. While surrounded by plants, he enthusiastically shared details about them, with his attentive dog by his side. I photographed him in his garden alongside his turtles and his dog, Nit. We made plans to visit a nearby mountain another day, and so one day, Alfons, Nit, and I set off together:

ORIOL VILAPUIG took me to the cinema, a place he finds inspiring and relaxing. He treated me to a screening of "La Notte" by Antonioni - what a gift! Each artist is like a new world to discover. Although I spent only a few hours with each of them, those moments were special, shared with people who made me feel at ease. It felt as if I had encountered long-lost family members for the first time; sometimes, words are unnecessary:

I have known BENET ROSSELL since I was very young. I used to accompany my mother to his exhibitions when I was around 12 years old. I admired his work so much that I asked him to sign one of the exhibition posters for me. I proudly displayed this poster on my bedroom door for many years, and he was delighted that a young girl like me requested his autograph. Benet and his wife then took me for a stroll around their neighborhood in Barcelona, Poble Sec and Raval. Afterward, we enjoyed lunch at an Italian restaurant in Sortidor square, where I observed the deep understanding and connection between them:

CARLOS PAZOS answered the door of his house wearing only pants! He had been busy with numerous phone calls that morning and hadn't had time to get fully dressed. While talking on the telephone, he searched for his trousers, then ended the call to locate his belt. Afterward, he called his wife to inquire about the belt's whereabouts. Eventually, he found it, and I began photographing him as he put it on. We then discussed our next meeting location, settling on the tranquility of Colliure:

With DAVID YMBERNON, we decided to venture into a snowy, white landscape. Accompanied by his wife Elisabeth and their son Dada, we headed to Núria. Along the journey, we marveled at the scenic views and reached our destination before sunset. We explored the area, walking on the damp snow, and witnessed their son experiencing snow for the first time:

I visited FERNANDO PRATS at his studio, and we opted not to plan anything, but rather to seize moments as they arose. We grabbed a large box he typically uses for creating smoke and placed it on its side on the terrace. We decided to take photos through the holes, capturing just glimpses of the sky. He focused intently on the charcoal inside the smoke box and felt compelled to approach it. Amid laughter and contentment, he painted his face. We felt immensely joyful after that session!:

All the moments I shared with each of them were special. MAYTE VIETA opened the doors of her house and, like many others, invited me into her personal sanctuary, her garden. It was a space that showcased the passage of time, where trees continued to grow, reminding us of the reality of life—that we, too, are evolving. They require care, water, and nutrients to stave off illness and death. We conversed endlessly, enjoying drinks on her terrace surrounded by plants. I'm confident we'll meet again:

The first time I met JOAQUIM CHANCHO was at his studio in Barcelona. When I'm unfamiliar with the person I want to photograph, I prefer to have an initial meeting to explain my idea. I ask them to think of a special place, preferably outdoors, where they find inspiration and recharge. While I took some pictures in his studio, we decided to reconvene at his home-studio in Tarragona. I spent an entire day with him and his family, exploring every corner of his land. I discovered new colors in the landscape, everything meticulously arranged, inspiring a sense of calm:

To photograph MODEST CUIXART, we decided to take a stroll around his house. He showed me his three cypress trees, one of the most significant spots in his garden, and I captured the photograph there with his little dog in his arms:

I visited VICENÇ VIAPLANA at his studio in Granollers. The first special place he mentioned was a green field in his garden, which he meticulously tends to by cutting the grass once a week. I photographed him during this task—it's his space and his moment. In this video you can see al the Flipbooks, including Vicenç's:

TONI LLENA welcomed me into his house in Vallvidrera. While he didn't hug me physically, his eyes conveyed warmth and hospitality. We shared a cup of tea, as if it were one of the many we had enjoyed together before. He offered his perspective on my endeavors and reminded me to feel free in all that I pursue creatively. In his presence, I felt like I was with a caring uncle, friend, or even a father figure—someone who genuinely cared about me. It felt as though I were part of the family. I captured a photograph of him beside a large fig tree, one with extensive roots, symbolic of life's challenges. It seemed to whisper caution, advising me to be discerning about whom I open my heart to and not to expect anything in return after giving. I thanked Toni for encouraging me to feel free with the images I had captured of him:

PERE NOGUERA was a spontaneous gift from Vicenç Altaió in La Bisbal. When I visited his house-studio, I noticed Pere watering the plants in his garden while Vicenç and I were exploring some artworks. Intrigued by the moment, I captured it through photography. We agreed to meet again another day to explore one of Pere's special places.

My father JOHN MORRISON and I went to spend some days with my grandparents in England, they live in a beautiful village…next to a river…there is quite a big harbour with many boats. We sat down next to the river…and lots of ducks and swans started to appear. Suddenly a special atmosphere appeared and I decided to take some pictures of him…just there…very close to his parents…the land where he was born and left 45 years ago…pulled by the power of the Mediterranean sun and the sound of Catalan traditional sardana music:

JOSEP UCLÉS proposed to take me to a castle in the north, the Quermançó castle, along with its surroundings, where the Countess of Molins once resided, surrounded by numerous tales and legends. Upon arrival, I requested that he blow a seed flower, the largest I had ever seen, sending it floating through the air over the landscape, shaping it in our unique way. I chose to position the castle behind Josep, as if it had just materialized from the past, suggesting that with a mere breath, it could vanish forever.
On another occasion, we decided to visit the Santa Maria del Mar church to light some candles. It's always comforting to make wishes!:

I arranged to meet RIERA I ARAGÓ on the stairs of the Pedralbes Monastery. He shared that he had spent many of his early days there, meeting girls and friends. We decided to meet again another day at a location that held great significance for him: Sant Pere Pescador beach, which was also a very special place for me:

VICENÇ ALTAIÓ took me to the Miró Foundation and we went to the roof terrace, while I was taking pictures of him, he wrote me a letter:

To Fiona,

One of photography’s raisons d’être is to question things.
We are on the terrace at the Fundació Miró and have to dodge the scaffolding, the test tiles. I ask the photographer to show me how she would like me to stress my posture.
She replies: “First, I must find you.”
I notice that while she holds the camera with one hand, with the other she clasps a piece of coloured methacrylate that probably captures other shots, oh, how mysterious! Perhaps she’ll bring the emptiness of the city to me and manage to transfer it to my soul. For they are identical!
I turn the sheet round. I don’t think my eye will entice the writing into appearing legible. I wouldn’t like it to reveal what I’m writing while she is photographing.
Now I’ve sensed your essence: nature. You choose the beauty that shoots up; I belong to the void.
The sheets of paper are flurried in the breeze, their edges raised by against the angles of the architecture of the void and of light. As if my soul were to take flight, I don’t know why but photography always leads me to death, to the evidence of the passage of time. I drift away in the breeze, cremated. If you captured this you would have created something immemorial.
Moreover, I think it would be valuable if your photography endorsed the coming together of our souls: the nature of tidy photography and the city of untidy writing, like this.
I’ll conclude by lifting my pen off the sheet so that photography can rise instead of being grounded on something. Like the whole. Like memory.
Sincerely, Vicenç

Vicenç Altaió in Joan Miró Foundation