Intuition and intent in the picture of Javier Pérez González.
The photography that lends its imagery to the exhibition appropriately synthesizes the attitude and interests of the artist: within an isotropic area in the half-light (presented on a horizontal plane and a central perspective). The spacial continuity is interrupted (by the presence, in the form of a centered, frontal, vertical pilar, against a backlight that provides an immense shelter) and the symmetry (with a flat line of light emitted from an escape point and shed upon an earthy surface of the stone blocks in the summer solstice). It allows us to contemplate the mystery that underlies spacial order (static and heavy megalith) and time (dynamicity and fluidity of light).
Full moon over Menga
Javier Perez Gonzalez's contribution to the imagery of the Dolmens of Antequera was born out of intuition and intention. That is to say, intuition, being understood as "an intimate and immediate perception of an idea that becomes evident to those who possess it", led him unawares towards the same frameworks that have historically been reiterated in the engravings and photographs of Menga, Viera and El Romeral...
In turn, intention, understood as the "determination of the will in order to obtain a goal" has meant he has had to confront the technical problem of capturing the sun's movement in small spaces within a strong contrasting light; as well as to acquire an interesting imagery, by creating a new iconography, in which the Dolmens dialogue with natural elements, such as La Peña de los Enamorados and El Torcal.
Aurora on the plains
In these images of great beauty, rigor is not incompatible with lyricism. An absolute mastery of digital photographic technique allows him to capture unfiltered color that invades the whole range of the picture. Menga radiates ochres, the aurora is pink, sunrise is red, the mountains turn in at night in gray, while dark night turns blue. All images are frontal on different planes, as if they were to reveal a scene.
On the road to La Peña de los Enamorados
Intuitively, Javier performs variations on the theme with the intention of verifying alignment of the central axis of the Menga corridor with la Peña de los Enamorados. He succeeds from the opposite side of the corredor, so that now we are the ones who can contemplate this unique phenomenon of monumentalizing the megalithic landscape.
Pinturas del abrigo de Matacabras
All such considerations become interwoven in the representation of archaeology. The close relationship between photography and archaeology become evident, with the two disciplines joining forces to show, in a different light, how permanent and temporary our heritage really is.
If the concept of heritage arises from a sense of loss and the need to conserve determined material remains, photography allows us to keep archaeology, such a fragile asset, in our memories, just in case it ceases to exist...
We are therefore contemplating an exhibition, that may be labelled as art, archaeology, landscape or philosophy....
Sunset at the 'Campo de los Túmulos' in Viera and Menga
The Dolmens of Antequera, as depicted by Javier Pérez González, lead us to imagine new 'invisible cities' in which memories, desires, signs, heaven, names, the dead, our gaze and exchanges live side by side... Thus representing the best invitation to this contemporary itinerary of these memorable places.
The Necropolis of Antequera
Between heaven and earth existed the first form of habitation, which may have been the Menga cave.
The central perspective is of the axis of a corridor that has a single vanishing point on a horizon line that shows its relationship with a more distant point. In turn, heavy gray clouds suggest a vast supported shelter, despite the force of gravity, giving a sense of mere descending lines.
Dawn of the autumn equinox in Viera II
The secret of their alignment is revealed in the interior at sunrise during spring and fall equinoxes.
Human determination has resulted in the marking in stone of the extremes of the sun's trajectory between summer and winter solstices, thus revealing the four seasons.
There are only two occasions per year during which the moment may be captured, and the time frame available is not long enough to carry out the tests required to take such a complex photograph, from perhaps a more technical point of view.
Dawn of the autumn equinox in Viera II
The author manages to obtain a sequence of unprecedented images of the phenomenon, with the sun rising on the horizon and moving along the corridor of the dolmen. A ray of light breaks over the threshold of the perforated door separating it from the camera and the light projection is perfectly centered at the top of it.
Midday winter solstice in El Romeral
... And, once again, the image of most poetic intensity is the direct incursion of the sun over the last chamber, at about noon on the winter solstice, when the sun is aligned at its lowest height running along the 34 metre corridor that separates the chamber from the exterior.
Laguna de Herrera, Antquera and El Torcal
And, of course, take a look at La Peña de los Enamorados, a landmark of the landscape of Antequera.
In turn, La Peña is a contour that unfolds from Antequera and Sierra de Arcas, at dawn and dusk, with the morning mist or brightness of the full moon.
In the visual relationship between the two mediate other intermediate elements like a plain of almond trees, the lagoon water emanating from the mountain and the city itself.
The Dolmen Site of Antequera
Conjunto Arqueológico Dólmenes de Antequera
Consejería de Cultura de la Junta de Andalucía
Curated by: Aurora Villalobos Gómez
Texts: Aurora Villalobos Gómez
Photography: Javier Pérez González
Digital Edition: Miguel Ángel Checa Torres