Artist Statement

June 11-16, Auditorium, Centre for Contemporary Art Barcelona. Public Event.

Programme in collaboration with Sónar.

Keywords: Photography, Memory, Parenthood, Child, Vision

Green Before “Green” explores the relationship between language and human vision. The project examines the process of acculturation that is imposed upon the untutored eye. Prior to the acquisition of language, do humans have an affinity for optical perception? If so, at what point do linguistic concepts alter the boundaries of our visual freedom?

I have several memorable images from early childhood. On the day of my 8th birthday, I received a polaroid camera as a gift. I was overjoyed to be able to capture a permanent collection of memories and visual images. However, by the time I turned eight, I had already developed a clear sense of communication and language. The prospect of recording a pre-language form of vision had already dissolved.

In Metaphors on Vision, filmmaker Stan Brakhage states, “How many colors are there in a field of grass to the crawling baby unaware of “Green”? How many rainbows can light create for the untutored eye?”. Looking back on my childhood, it seems impossible to access a comprehensive realization of “the untutored eye”.

In contrast, my son, Atticus, was born in 2018. At the age of one, he developed a recognizable curiosity for the mobile phone. His linguistic skills had not yet developed, yet he had a noticeable capacity for capturing photos and videos. Over the course of several months, he composed a large collection of still and motion images. Upon reviewing the visuals, the notion of an “untutored eye” began to emerge. Within these photographs, it became evident that Atticus had not yet conformed to the accepted laws of perspective or logic. In short, he was immersed in an adventure of perception.

Green before “Green” considers the relationship between technology and memory. It is an inquiry into the existence of childhood vision. Namely, to what extent does technology allow for the reconstruction of childhood memory? Furthermore, does photography provide insight into the evolution of pre-language vision?

• Paul Echeverria is a filmmaker, digital artist and educator. His research and creative practice examine the formative dynamics between childhood, parenthood and the family structure. In addition, he produces work that contemplates the inevitable collision between humans and technology. Echeverria works with multiple forms of media, including film, video, augmented/virtual reality, performance, social media, data manipulation, podcasting and e-literature. Echeverria is an Assistant Professor of Digital and Emerging Media Production at Wayne State University in Detroit, Michigan, USA. His films and digital works have been exhibited at multiple venues, including the Museum of Modern Art (MoMA), Media City Film Festival, Other Cinema, the FRACTO Experimental Film Encounter, VASTLAB Experimental Festival, the Dallas Medianale, Festival Ecrã, the Festival Internacional de Videoarte de Camagüey, Experiments in Cinema, the NY Media Center by IFP, The Wrong Biennale, the Bronx Museum of the Arts, Anthology Film Archives and the Angelika Film Center. http://www.paulanthonyamator.com