The series 'The Road to Tepeyac' was conceptualized as an immersive photographic installation. It consists of 125 images of devout Mexican pilgrims carrying their personal image of the Virgin of Guadalupe on the anniversary of her apparition in 1531 . According to Catholic tradition, Guadalupe's image was miraculously imprinted on the cloak of an indigenous man, now Saint, Juan Diego. The work provides a kaleidoscopic experience of multiple re-presentations of the sacred image and deconstructs the historical, political, philosophical, psychological and anthropological relationship between an invisible presence and its materialized expression. The decontextualisation is intended to focus our attention on the individual image, and allows the reintegration of the collective group, permitting the viewer to appreciate the plethora of re-presentations of the Virgin and give a glimpse of the journey of millions of pilgrims every year.
The Road to Tepeyac Monograph
Prologue by Christian Caujolle , 2011
The issue at hand, in all its dimensions, will be the image. Images and images and images. And the way in which photography produces these images of images, inserts itself into them, deciphers them, reproduces them, transforms them and gives them a meaning in a range of strata and en abyme, well beyond what they tell us they represent and show. ...... Guadalupe is solar. Right at the beginning, photography was talked about as a heliographic drawing. Because it is indeed a question of a burden for certain people for whom a banner or flag pinned to their backpack or wrapped around themselves does not suffice. Anything goes: huge statues, along with small, sometimes delicate ones swaddled in a blanket, paintings that are larger than the people carrying them, displaying every kind of esthetic, with huge frames, in carved wood, poker- work virgins, others roughly sketched, drawings, works in cross-stitch, paintings as delicate as popular ex-votos, others finely embroidered on plain or precious fabrics, on fur, mantels, still others, probably more precious than the rest, that have perhaps come from a chapel, in their glass and metal container. Thousands of virgins, thousands of images in movement, like an uncountable immensity that would speak of the intensity of belief. They become image because they carry an interpretation of the image they are going to venerate, and because the only thing photography retains of them is this echo image of another image. And it is obviously because belief, for want of generating visions for each person, has materialized in an image to become “the Image”, that this is possible.