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Photometry is the branch of optics responsible for measuring light in how it is capable of stimulating the human visual system. This is different from Radiometry, which measures light in terms of absolute power. While this concept includes light in its conceptualization, it also includes the observer, turnig it into a discipline that studies not only a phenomenon, but also, an interaction. Although this interaction is translated into numeric values, it shall always depend on the subject, a fact that inevitably renders it subjective. For the exhibition’s title, the concept is applied in plural, for the exhibition is intended as a series of photometrical moments, a series of subjective instances of light perception.

The exhibition consists of a series of light pieces, specifically designed for the gallery’s space, accompanied by a series of graphic pieces. The former all work with unidirectional mirrors, which are made out of metallic partial covers that alter their transparency and reflectivity according to the amount of light on each one of their sides. The pieces possess their own illumination systems on the inside, installed behind an opaque film that acts as a diffusing panel. This mechanism generates an aura of light that, thanks to the artworks’ material properties, render the illuminated segment transparent, but leaves the rest of the piece acting like a mirror. This halo of transparency thus articulates the ambiguous quality of the artworks’ phenomenology, emphasizing their interactivity with the surroundings. The importance of reflection not only appears as an element that incorporates architecture into the object, but is also a way of rendering an object subjective, as it is capable of including the different social dynamics generated by an exhibition context, just like the architectonic program that contains them.

La Fotometría es la rama de la Óptica que se encarga de medir la luz en tanto es capaz de estimular el sistema visual humano, a diferencia de la Radiometría que mide la luz en términos de potencia absoluta. Este concepto si bien se refiere a la luz en su conceptualización también incluye al observador, por lo que se vuelve una disciplina no solo de estudio de un fenómeno sino de una interacción. La cual, a pesar de ser traducida a valores numéricos, siempre dependerá del sujeto, volviéndola inevitablemente subjetiva. Para el título de la muestra el concepto está aplicado en plural ya que la muestra está pensada como una serie de momentos fotométricos, de una serie de instancias subjetivas de percepción de la luz.

La exposición se compone de una serie de obras de luz, diseñada específicamente para el espacio de la Galería, acompañadas por unas serie de piezas gráficas. Las obras de luz funcionan con espejos de una dirección, alterando su transparencia y reflectividad según la cantidad de luz en cada uno de sus lados. En su interior las obras tienen su propia iluminación, instalada detrás de una lámina opaca que actúa de panel difusor. Este mecanismo genera un aura de luz que, gracias a las propiedades materiales de las obras, transparentan solo el segmento que se ilumina, pero el resto vuelve a comportarse como un espejo. Este halo de transparencia enuncia así la cualidad ambigua de la fenomenología de las obras, destacando su interactividad con el entorno. La importancia del reflejo no solo se presenta como una elemento que incorpora la arquitectura al objeto sino que también es una forma de subjetivación del objeto al ser capaz de incluir las dinámicas sociales que el contexto de exhibición genera, del mismo modo que el programa arquitectónico que las contiene.

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