Albarrán Cabrera

Artista, MIA Fair 2023 @ Ira Stehmann Fine Art

Albarrán Cabrera, The Mouth of Krishna SE #60506, 2018

Courtesy: Ira Stehmann Fine Art

Pigment print on gampi paper and gold leaf
Pigment print on gampi paper and gold leaf
Dimensioni / Size: 32 x 48 cm | 12 5/8 x 18 7/8 in
Edizione / Edition: 10 + 2 APs

Contattare Ira Stehmann Fine Art per il prezzo.
Please contact Ira Stehmann Fine Art for the price.

Albarrán Cabrera

Spagna @ Spain

Albarrán Cabrera are the photographers Anna Cabrera (b. 1969, Sevilla) and Angel Albarrán (b. 1969, Barcelona) who work together as a collaborative duo based in Barcelona. The work of Anna Cabrera and Angel Albarrán has been exhibited in Spain, Japan, the Netherlands, France, Germany, Lebanon, Italy and the United States. Anna and Angel both have a PhD in printing techniques and photo preservation and have studied under photographers such as Humberto Rivas and Toni Catany, among others.

ARTIST'S STATEMENT
Time, reality, existence, identity and empathy are very interesting subjects, but the most fascinating thing is the relation between them. These relations are difficult to explain by means of words and that‘s why we rely on images. We are particularly interested in memories. We want to play with the memories of the viewer to construct a representation inside their minds. Of course we will never know what the final result will be, because any person has different memories and has grown up in different cultures and environments. Our images will only be the bare bones of this mental construction.

WHY PHOTOGRAPHY
The way a photograph is interpreted is subjective and it is related to the culture, experiences and memories of the viewer. That means that we, photographers, can explain very complex subjects or the relations between them without using a specific verbal language that follows a linguistic code made of symbols and meanings. But in turn, we use images and prints. We feel that photography can help the viewers to understand concepts difficult to understand in other way. A set of images makes the viewer to be in the same wavelength as we are.

The other reason is not a new one. Whenever we think of a photograph we think of a real event, we think we are looking at something that really took place, although we also know the images are constantly manipulated. “If it is in a photograph, it is real”. This fact gives you a lot of power to explain concepts that are difficult to explain using a different language.

There is a gap between reality and what we understand as real. And photography (as Japanese dramatist Chikamatsu once said about art ) lies in the frontier between the real and unreal, the true and the false. So it helps us to “see” what is hidden from us.

PRODUCTION
We use a wide range of processes and materials. Some of these processes are the result of the combination of several old photographic processes or they can be a mixture of new and old ones. Thus we use, platinum, palladium, cyanotype or gelatine silver processes. But we have also invented and developed new processes, as it is the case of the one we use for our colour prints: pigments, Japanese paper and gold leaf.

All this serves just one single purpose: we want to have far more parameters to play with the viewer than just the image. The texture, colour, finishing, tones; even the border of a print can give extra information to the viewer. And you can have a better control over this information just using the correct process and materials for a specific image.