I deliberately call this series ‘Entreacto’ (Intermission) because, contrary to what one might think at first sight, they do not represent the end of anything, but a point in the ‘lives’ of the characters. Marmontel said in the 18th century that the intermission is a rest for the spectator, but not for the action.
The images represented in ‘Entreacto’ are created from a series of enigmatic situations, built upon fictional couples.
Initially, I chose a series of localizations based on the four seasons. I was also searching for hidden places, where models could not easily get adapted to the environment, because of the harshness of those lands.
I placed couples in such a way that they would be representing a moment of uncertainty; a lost sight, a gesture of frustration, of search, an uncomfortable position, or just an implicitly odd movement. The presence, more or less evident, of what it could become a weapon, marks something that has happened or it rather might be about to happen.
By recreating these situations in different seasons of the year, I was able to put them in relation, somehow, with the series of stages in romantic relationships, and both the social difficulties and contradictions that are faced in order to overcome these stages. For instance, on the one hand, we are educated to be independent and self-sufficient individuals but, on the other hand, having close relationships with someone different from your couple is socially disapproved.
We use what we know about the relationships of others to build a clearer image about who they are. Furthermore, we use our own romantic experiences to better understand ourselves. When relationships are broken, identity is in conflict, and tragedy emerges. I wanted to represent this situation by staging old-fashioned tragic finales, prototypical of classical couples of the romantic literature. In sum, couples breakups are not the end of the characters, but intermissions, regardless of what the actors are experiencing.
