Alberto Feijóo, from Punto Limpio (Clean Spot), 2015. All images courtesy of the artist.
Crushed glass, tile shards, dusty stones, shirtless men, cement blocks, and cut bricks populate Alberto Feijóo’s latest photographic series, Punto Limpio (Clean Spot). These materials are meant for building or destroying; indeed, Alberto imagines his photos as a “construction space.” But the construction site extends beyond the industrial elements in the places he depicts. Alberto’s installations exist somewhere between going up and coming apart, between an archaeological excavation and a construction site. When I arrived to his studio, Alberto told me that everything in his work is about the struggle between love and hate: in terms of photography, art, his life, and himself. Hence Alberto’s fixation on building and destroying.
Claudia Claremi, Junta de Vecinos (Avenida de América 13), 2014. All images courtesy of the artist.
“I see the possibility of doing something, but it has to be close.” For Claudia Claremi (Madrid, 1986), closeness is a physical proximity and a personal space. Her work utilizes a fascinating mixture of methods and materials based on what and who are in her surroundings to investigate themes of shared memory, political systems, and community structures as they intersect with her own personal experience. At the center of Claudia’s practice is her own heart, which is deeply committed to opening art and art making to others. Her work challenges traditional definitions of what art is. Her projects blur the boundaries between physical spaces, history and personal stories, close and far.
Emma Crichton, Cacti Inside, 2013. All images courtesy of the artist.
I met Emma Crichton (Glasgow, 1988) in November when she was visiting Vigo from A Coruña. I was fascinated by her rich photographic work and wanted to know more about her position as a foreign artist working in Galicia, Spain. The following is an interview we conducted recently via email.