Lois Patiño

Samsara is the Buddhist cycle of death and reincarnation. From the temples of Laos, alongside with teenage monks, we will accompany a soul in its transit from one body to another through the bardo. The words of the "Tibetan Book of the Dead" will be our guide to avoid getting lost in the afterlife. A luminous and sonorous journey that will lead us to reincarnate on the beaches of Zanzibar, where groups of women work in seaweed farms.

Samsara is the Buddhist cycle of death and reincarnation. From the temples of Laos, alongside with teenage monks, we will accompany a soul in its transit from one body to another through the bardo. The words of the "Tibetan Book of the Dead" will be our guide to avoid getting lost in the afterlife. A luminous and sonorous journey that will lead us to reincarnate on the beaches of Zanzibar, where groups of women work in seaweed farms.

Samsara is the Buddhist cycle of death and reincarnation. From the temples of Laos, alongside with teenage monks, we will accompany a soul in its transit from one body to another through the bardo. The words of the "Tibetan Book of the Dead" will be our guide to avoid getting lost in the afterlife. A luminous and sonorous journey that will lead us to reincarnate on the beaches of Zanzibar, where groups of women work in seaweed farms.

Distant lights reveal the outline of a city. Illuminated ships cross the water with sleeping people on board and the night appears to become liquid. The sower of stars wakes them and travels with them through the city. They talk about this and that – and say goodbye to everything.

¿Quién es Sycorax? El primer personaje de la "Tempestad" de Shakespeare en pisar la isla. El problema es que no tiene voz. Próspero apenas la menciona como una bruja malvada, vieja y torcida que encerró vilmente a Ariel, el espíritu del aire, en un árbol. Pero ¿por qué ella haría eso? Aquí, no le creeríamos tanto a Próspero.

¿Quién es Sycorax? El primer personaje de la "Tempestad" de Shakespeare en pisar la isla. El problema es que no tiene voz. Próspero apenas la menciona como una bruja malvada, vieja y torcida que encerró vilmente a Ariel, el espíritu del aire, en un árbol. Pero ¿por qué ella haría eso? Aquí, no le creeríamos tanto a Próspero.

Four filmmakers working in the region of Galicia (in the northwest of Spain) follow and portray on the screen Galician artists working in disciplines of different nature. The result is four pieces around the creative process of these artists. Lois Patiño film their parents working on their paintings in their studio in Vigo, Jaione Camborda films dancer Janet Novás rehearsing for one of her pieces, Xisela Franco follows film director Margarita Ledo revisiting the location of her latest film Nation and Alfonso Zarauza reflects on the relationship between actress-director by putting together the work of Melania Cruz in two of their collaborations.

En pueblo en la costa gallega. El tiempo parece haberse detenido. Todas las personas están paralizadas, ensimismadas, mientras que naturaleza y animales se mueven libremente. Pese a todo, podemos escuchar a la gente moverse y hablar, como si estuvieran en una dimensión paralela. La sensación es la de estar en un limbo lleno de espectros. Tres mujeres llegan al lugar, capaces de moverse entre estas dos dimensiones. Tratan de encontrar al Rubio, un experimentado buzo, desaparecido desde hace unos días.

En pueblo en la costa gallega. El tiempo parece haberse detenido. Todas las personas están paralizadas, ensimismadas, mientras que naturaleza y animales se mueven libremente. Pese a todo, podemos escuchar a la gente moverse y hablar, como si estuvieran en una dimensión paralela. La sensación es la de estar en un limbo lleno de espectros. Tres mujeres llegan al lugar, capaces de moverse entre estas dos dimensiones. Tratan de encontrar al Rubio, un experimentado buzo, desaparecido desde hace unos días.

En pueblo en la costa gallega. El tiempo parece haberse detenido. Todas las personas están paralizadas, ensimismadas, mientras que naturaleza y animales se mueven libremente. Pese a todo, podemos escuchar a la gente moverse y hablar, como si estuvieran en una dimensión paralela. La sensación es la de estar en un limbo lleno de espectros. Tres mujeres llegan al lugar, capaces de moverse entre estas dos dimensiones. Tratan de encontrar al Rubio, un experimentado buzo, desaparecido desde hace unos días.

En pueblo en la costa gallega. El tiempo parece haberse detenido. Todas las personas están paralizadas, ensimismadas, mientras que naturaleza y animales se mueven libremente. Pese a todo, podemos escuchar a la gente moverse y hablar, como si estuvieran en una dimensión paralela. La sensación es la de estar en un limbo lleno de espectros. Tres mujeres llegan al lugar, capaces de moverse entre estas dos dimensiones. Tratan de encontrar al Rubio, un experimentado buzo, desaparecido desde hace unos días.

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

Locked themselves for days in the Sevillian studio of La Mina, located in a house with a large pool, forces the members of the Galician punk-pop group Carminha Novedades to think about their songs. We find them living their new album 24 hours a day.

The HADAL project, that includes SOL ROJO (Red Sun), is an immersion into the oceanic abyss.

An instant in the memory of landscape: the smuggling that for centuries crossed the line between Portugal and Galicia. The Gerês Mountains knows no borders, and rocks cross from one country to another with insolence. Smugglers also disobey this separation. The rocks, the river, the trees: silent witnesses that help them to hide. They just have to wait for the night to cross the distance that separates them.

An instant in the memory of landscape: the smuggling that for centuries crossed the line between Portugal and Galicia. The Gerês Mountains knows no borders, and rocks cross from one country to another with insolence. Smugglers also disobey this separation. The rocks, the river, the trees: silent witnesses that help them to hide. They just have to wait for the night to cross the distance that separates them.

An instant in the memory of landscape: the smuggling that for centuries crossed the line between Portugal and Galicia. The Gerês Mountains knows no borders, and rocks cross from one country to another with insolence. Smugglers also disobey this separation. The rocks, the river, the trees: silent witnesses that help them to hide. They just have to wait for the night to cross the distance that separates them.

An instant in the memory of landscape: the smuggling that for centuries crossed the line between Portugal and Galicia. The Gerês Mountains knows no borders, and rocks cross from one country to another with insolence. Smugglers also disobey this separation. The rocks, the river, the trees: silent witnesses that help them to hide. They just have to wait for the night to cross the distance that separates them.

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: "The landscape are layers of time condensed into an image". We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: "The landscape are layers of time condensed into an image". We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

La Costa da Morte era considerada en tiempos de los romanos el fin del mundo. Su nombre viene de los trágicos naufragios que han tenido lugar en esta rocosa y tormentosa región de abundantes nieblas. La cámara explora la zona, centrándose en los pescadores y trabajadores que habitan allí. Refleja la relación adversa que tienen con los elementos, examinando el misterio que ata a un pueblo a su tierra, su historia y sus leyendas. (FILMAFFINITY)

La Costa da Morte era considerada en tiempos de los romanos el fin del mundo. Su nombre viene de los trágicos naufragios que han tenido lugar en esta rocosa y tormentosa región de abundantes nieblas. La cámara explora la zona, centrándose en los pescadores y trabajadores que habitan allí. Refleja la relación adversa que tienen con los elementos, examinando el misterio que ata a un pueblo a su tierra, su historia y sus leyendas. (FILMAFFINITY)

La Costa da Morte era considerada en tiempos de los romanos el fin del mundo. Su nombre viene de los trágicos naufragios que han tenido lugar en esta rocosa y tormentosa región de abundantes nieblas. La cámara explora la zona, centrándose en los pescadores y trabajadores que habitan allí. Refleja la relación adversa que tienen con los elementos, examinando el misterio que ata a un pueblo a su tierra, su historia y sus leyendas. (FILMAFFINITY)

A poetic view into the relationship of immensity between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a spectral presence.

A poetic view into the relationship of immensity between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a spectral presence.

A poetic view into the relationship of immensity between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a spectral presence.

La figura humana, inmóvil, se sitúa en el interior de un paisaje que se desarrolla ante él, envolviéndolo. No es un entorno estático sino que el paisaje se va descubriendo en sus cambios sutiles: la sombra del humo en la tierra, la niebla desvelando una montaña, un remolino en la arena… El hombre, de espaldas y paralizado, nos invita a contemplar en intimidad y con detenimiento, los procesos de cambio en el entorno natural. La cámara también queda quieta, es el paisaje el que se mueve.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

"The evaporation or the centralization of the self. Everything is there." —Charles Baudelaire A sensorial approach to landscape In the deep contemplation of landscape the senses are altered. We feel a sublimation experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way: it stops in our consciousness. It is the connection at the "full instant," the idea of "durèe" of Henri Bergson, where the intensity of the experience makes the image of landscape expands.

"The evaporation or the centralization of the self. Everything is there." —Charles Baudelaire A sensorial approach to landscape In the deep contemplation of landscape the senses are altered. We feel a sublimation experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way: it stops in our consciousness. It is the connection at the "full instant," the idea of "durèe" of Henri Bergson, where the intensity of the experience makes the image of landscape expands.

"The evaporation or the centralization of the self. Everything is there." —Charles Baudelaire A sensorial approach to landscape In the deep contemplation of landscape the senses are altered. We feel a sublimation experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted, time flows in a different way: it stops in our consciousness. It is the connection at the "full instant," the idea of "durèe" of Henri Bergson, where the intensity of the experience makes the image of landscape expands.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

We feel a sublime experience where the mental image of landscape undergoes a metamorphosis. The actual space is distorted. It is the connection at the “full instant”, the idea of “durèe” of Henri Bergson, where the intensity of the experience makes the image of landscape expand.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The project studies the relationship between observer and landscape in the contemplative experience. A sensory approach to landscape from introspective perception. We start with the external factors of space and time in the environment to go deeper in the temporal and spatial consciousness experiences.

The image in these works is modified applying paint and vaseline on a filter that sits between the landscape and the target, so we got a subjectivation of the look and the effect of distortion of reality.

The image in these works is modified applying paint and vaseline on a filter that sits between the landscape and the target, so we got a subjectivation of the look and the effect of distortion of reality.

The image in these works is modified applying paint and vaseline on a filter that sits between the landscape and the target, so we got a subjectivation of the look and the effect of distortion of reality.

By Lois Patino

Videoinstallation with methacrylate / no sound / 2018. Underwater Images recorded in Baja California Sur (México)

Todo se (con)funde en el agua.