- EMANACIONES DE LUZ I. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ II. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ III. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ IV. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ V. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ VI. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ VII. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ IX. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ X. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XI. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XII. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XIII. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XIV. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XV. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XIIIV. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XVII. Fotografía analógica y retoque digital, 2009
- EMANACIONES DE LUZ XVIII. Fotografía analógica y retoque digital, 2009
EMANATIONS OF LIGHT, 2009
Mapi Rivera
The serie "Emanations of light" is the result of a commission from the Huesca City Council on the 10th anniversary of the Periferias Festival. In the first Festival, the series of images of my authorship, “Acorazonabierto”, 2000, stablised an aesthetic line based mainly on photography. I was asked to create a new image that closes a cycle and were inspired by the image that opened the Festival. The theme of this tenth edition is Commercial Periferias.
The issue of commercial refers me to gold, however, I extrapolate the sense of commercial transaction that is usually associated with the exchange of currency, to extend it to an exchange in other areas of knowledge.
The golden color or gold itself has been used in icons and sacred representations as a synonym for light and transcendence. In the alchemical tradition, gold is a sort of reified light, the result of a transmutation in which the human being himself transmutes into a new and resplendent being. The halos that surround the saints, the gold leaf backs of medieval religious paintings, refer us to those invisible and numinous places, which could only be seen with an inner, open, transfigured gaze. Thus, these images allude to a longing for inner transmutation, to become light, to radiate numinosity.