The photography of Reyes could become the resulting work of a modern flâneur*. Attracted by the margins and sinks of society, he shoots his camera in those places where the beauty is more elusive and the filters prove sterile. Reyes, similar to the flâneur and as Susan Sontag pointed out, is not attracted to the officiousness of the city, but rather drawn to its darker corners with their downtrodden, relegated people(…)**.
Wall flees from canonical formalisms to be located in the iconographic epicenter of Reyes.Thus, Wall can be seen as a kind of refuge or trench where these polarizations are so characteristic of the poetic discourse of the artist, for on its sturdy and flimsy structure, the shadow of imbalance and collapse constantly glide.
* The flâneur, a character described by Baudelaire and later systematized by Walter Benjamin, would become that wandering, streetwalker, with no fixed course whose only guided by his inspiration, wanders seduced by nuances and small details alternative to the reality of the crowd. For a broader view of the flâneur see the chapter entitled The Painter of Modern Life included in: Baudelaire, C. Salons and other writings on art. The raft of the Medusa, Madrid, 2005. Págs. 347 et seq.
** Sontag, S. About photography. DeBolsillo, Barcelona, 2013. Págs. 61 and 62.
Photography and negatoscope
34 x 49 x 10 cm