November 2015

How and when did you come up with the idea of working in photography?

I studied fine arts and started developing my pictorial work with drawing and painting. At the end of my studies I became interested in photography as auxiliary means to implement my work; but I started realizing my photographic work only ten years later.

Photography unifies my work, it helps to better understand the message that I want to convey and allows me to work faster; this way I dedicate more time on reflection and conceptual thinking.

Where do you get your creative inspiration from?

I’m always thinking about future work, on how to explain thoughts or shape a work in progress. I believe that the inspiration is a set of things that happen during the lifetime and it must be shaped with a lot of work. Only experimentation and hard work let that inspiration evolve into art.

How would you define your own photographic style?

I don’t know how to define my own work. I think that it is something that time will do for me. But I would say it is a type of magical realism; a place where everything is real, tangible and simultaneously mysterious and disturbing.

Please name one (or more) photographer, whose work played a significant role in finding your own personal style in photography.

The truth, I don’t feel identified with no photographer; I’m not a follower of trends or photographic styles. I like to do my work without thinking in styles. Even so, I feel attracted to the first stage of Joan Fontcuberta’s work, when he was a plastic photographer. Joel-Peter Witkin is a photographer, who fascinates me and terrifies me at the same time. I admire how he creates his disturbing photographs. The pictorial work of Julio Vaquero is another constant that I’ve been following for years, his paintings hypnotize me, especially the coal gouaches on vegetable paper.

Do you normally develop concepts for your shootings or is it mostly spontaneity that makes your pictures gain that characteristic Pàtric Marín-look?

My way of working differs depending on the work that I’m planning to do.

The work more calculated that I have done is „The rough skin of the elephant“. I had to make hundreds of photographs of locations and about three thousand pictures of animals in the zoo for obtaining twelve final works. I had a very clear idea of what I wanted to convey in those photographs. It was a challenge that lasted almost two years.

“YOZ” is another work and very different. These photographs were taken completely and spontaneously in the woods; using the concept of trial and error until I achieved the desired results and overcame the technical complexity for my goal to let the final image not seem cold or soulless.

Are you using your own standard equipment? Which camera and lenses do you use mostly?

I’m not a fan of no trademark, I choose the camera that suits my needs best. Now I work with a digital SLR full frame, normally without a tripod – I prefer taking photos free-handed. I used flashes for the last two works and I take almost all pictures with a 20mm 1.8f lens. I also use a 50mm 1.4f and occasionally a 70-200mm 2.8f for animal photography.

What, from your point of view, are the major challenges in photography?

Photography has the risk that once you’ve learned a technique and you get good results, you stagnate.

Doing the same photos bores me and I have to change the way of work. I need to experiment to find new workflows. One challenge is to find new languages without losing my own style. Currently I’m preparing my next project that will be very different to my latest works.

We are fortunate to live in an age where photography is accessible to everyone, in the last decade the amount of photographers increased because of this. The challenge is that everyone needs to find their own language, that may use the photography in a way of expression and their images then have their own life for distinguishing themselves from the rest.