No one can deny that photography is a subjective art  - yes, I wrote art -. The reality offers thousands of nuances, facets, multiple readings … And the photographer, as a matter of threshold, finds himself faced with the need of choosing which one of them has to be revealed when one holds a camera in their hands. And looking closely at Lina’s work, it’s easy to reach the conclusion that she has resolved easily that dilemma under the premise that beauty can be found in the most diverse places. In each of her captures  -whether it comes to architecture, to landscape, to the abstract…beats above all an intense desire to express, to highlight the beauty that may be found in the photographed object. However, don’t think that Lina embellishes the reality: she has simply developed a marvelous sense of finding that beauty through the eye of her camera. Such is the vision of what surrounds her, and the camera is her means of sharing it. But despite of what it may seem for what was written above, in her, that process does not seem conscious or premeditated, but completely instinctive. Therefore, Lina will tell you that she finds it hard to characterize her own photography, which is something that she hasn’t poised to herself. Unlike other photographers, in which every aspect of their work -the subjects, the composition, perspectives, the capturing techniques … appear to be thoroughly planned, Lina seems to approach the photographic process guided mainly by a sharp marvelous intuition.

Anyway, one of the aspects that immediately attract attention to Lina’s photography is the usual absence of spatial or temporal references in her captures.  With few exceptions, her photography seems to be usual and deliberately unlocated, which is a way of saying “Ok; it doesn’t matter where or when I made this photo, look only at what I want to show you”  So what seems essential here, is the impression that her photos provoke in the viewer, not the information we may obtain from them. We don’t need to know to be aesthetically touched inside.

It is modern architecture that certainly seems to attract Lina as a photographic topic. In it, she finds abundance of lines, patterns and geometrical shapes that are a constant in her work. Therefore, it is understandable that she focuses more on those motifs than in the building itself, searching in the visual rhythm and repetition of architectural elements a free way to get into the abstract.  Seen this way, her ‘architectures’ are decontextualized, being no longer such, to turn into abstract minimalistic landscapes, drawn in perfect non contrived compositions that take advantage of the flowing lines and shapes to cause those feelings of which we spoke above. On other occasions it’s the traditional or monumental architecture that catches her attention, be it framed in those beautiful views of the old neighborhoods of towns and cities, or simply for being treated as a pretext for the study of lines, shapes or materials used in it.  In the latter case, it is the beauty of these roofs, the manorial walls or those old repainted doors what justify the images by themselves. But whatever may be the captured subject, Lina’s architectural photography is always characterized by a wonderful treatment of light and contrasts. In many of these photographs the light is intense, hard, which creates deep, sharp shadows and makes stand out suggestively colors and textures. On other occasions, the light is reduced to a solitary sunray that graduates shadows and volumes of the whole scene, becoming something almost corporeal.

But beyond her urban photography, Lina cultivates landscapes with great sensitivity, with the sea being the almost omnipresent element in them. I believe that Lina’s is a calm big sea, luminous, bathed in a bright meridional light that magnifies awesomely its intense blues and the vast Atlantic horizons.

Lina uses a compact Canon PowerShot G12, which is incorporated with a broad range of focal lengths that allows her to cover all possible situations. It is a small size camera that she always carries with her, ready to shoot at any time, however curious or inconvenient the situation may be, as she tells me with fun. Probably this is the best example of the way in which photography is part of her daily life as a way to express and channel her marvelous creativity.

-Juan Manuel

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