No Destination

16 – 31 July 2016


In a time when the physical distances narrow. In an era, the digital one, full of lone individuals prefixed to a virtual communication doctrine, in which intimacy and the true leitmotif of each human being is relegated to a community mirage, man still fights as his ancestors did, an old battle in the horizons and about the social skills around him. Metaphysical spaces elevated to a collective subconscious, to a popular imaginary where daily, we fight an eternal battle between the unconquered and the real.

Areas working as mirrors of a society destined to a fierce development, where future frequently confuses with present and past is lapidated by the burden of the now. Places as the yesterday’s close heritage, as the ruins of today, as a legacy of what we have been, and a close intermediate towards tomorrow.

No Destination has been developed in those spaces, highways, parking, yards, old factories, or service roads; time there seems to remain silent after an aesthetic and purely emotional resource: melancholy and decadence of a society riding without direction nor end to the encounter of an unachievable progress.



Tolo Parra’s (b. 1980 in Seville, Spain) work can be defined as the constant uncertainty of a tough destination; it manifests an acceptance of their impulses, obsessions and nostalgia: an autobiographical work in which portrays life through experience.Series are articulated under one common denominator: melancholy, a feeling enhancing the implausible triviality of the common scenes, many of them represented through dead spaces, where life memories enhance the state of solitude. This is a sort of scenic existentialism in a process of search of a harmony with the environment. In his work, the feelings become identifiable geographical points, palpable and subjectivized realities. They are not places to go, but the transit of a life generated by the living pulse.

Through the nude photography, free from interventions, he captures with a shy but determined approach, the scene found, assimilating a process of sensitive and not visual mimesis. Analogy between the physical need to shuttle, travel and exploration are but reflections of the desire for emotional migration, of the sensitive experimentation. His work appears articulated as memory does: in the same way that our thoughts are processed, through continuous fragmented ideas, and the suggestive with the explicit coexist, resulting in a contrasted perception, where the author displays an ideology from his privacy.

María Arregui (curator and critic)




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