In order to produce the series called “The Room,” I used a photograph of one of the rooms in my last study, before it was repaired, as the basis. And here it symbolizes both my imaginary, the place where scenes “emerge” and my training as an analog photographer.
Throughout the series, this room is permanently modified and in some cases, becomes purely virtual.
It also uses images from very different sources and also of pictorial origin, indicating their origin in each index card.
by Max Fund
In the series called “The Room”, Max Fund carries out a resignifying operation derived from the appropriation/manipulation/intervention of the image through one of the most recurrent programs for this purpose.
This set of images combines pictorial works by notable authors, into which this photographer has inserted female characters taken from a pornographic page, after spending a considerable number of hours and skill on this but above all, with a playful spirit that opens the image up to several interpretations and reflection and more than the image, its pretexts, contexts and sub-texts. The conceptual premises obviously do not replace or exclude the pulses or stimuli drawn from the sensual and sexual provocations of these new images which, perfectly cut out and assembled, are incorporated into scenes as though their presence had always been calculated in the script.
Rather than narrating, here the image signifies, obviously without violating the confusing categorizations that tend to lead to the conception and reproduction of reality on the basis of idealized concepts which, sooner or later, end up colliding with the wall of passions and behaviors, not without noticing, in passing, that what is always in doubt, before we crash, is our idea of things.
These images also question the illusion ─as a mirage and as a fantasy─ that represents the art that is mounted on a reality that is not as it appears (either physically or perceptually or morally) because they resonate with the collective unconscious where permanent doubt resides, always disguised as certainty about the nature of reality: Fund’s work contains metaphors, other rhetorical figures and images and meta-images that build a poetics that translates into sensitive experiences and perceptions of a subjective reality which, once again, unsettles the logics that absolutely oppose the ancient and the modern, the solemn and the frivolous, the open and the closed, the forbidden and the permitted, the real and the imaginary.
So“The Room” is a set of images based on images which, in turn, are interpretations or recreations of this other image we call reality, which is nothing more than the representation we can make of things on the basis of what, with our abilities and limits, informs (is imposed as form) our senses. This is followed by the contribution that introduces some variety, in other words, what the sum of imagination, culture and ideas, filtered by the validity and pertinence of the values of the time, contributes in order to stabilize our concepts, a stability that is nonetheless precarious."
by Omar Gasca