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These photographs of Carlos Hoyos allow us to discover, through a refined technique and an office cleaning, perspectives and elements that the common passer overlooked, perhaps because it has become routine that which duty to be emotion and wonder. Are striking contrasts of tone, the original color saturation, the deliberate transparency of space and geometry precision of alternating horizontal, vertical and diagonal in a set of plans provided and processed. Accustomed to look from below the sculptures of Fernando Botero, its dimensions exceed the limit of personal curiosity, as if sta be satisfied only in the measure of our pequeez. By contrast, photographs aquexpuestas we find, for example, the Sleeping Venus, the sensuality of forms which can be envisaged, not as a body extended along, but as whole body ignorbamos. Carlos Hoyos seems to delight in something trivial or seemingly superfluous habamos overlooked in our haste, the feather in the hat of Women dressed, or the umbrella of Man dress. The photographer looks down and gives us, as a whole, the figure referred habamos half, the simple object ignorbamos. Here, the privilege of the form is imposed on any other consideracin. In the midst of a bare stage, the magnified image of the Hand lights by way of giant lamp, with the shades projected by sunlight. And they are also forms the shadows of trees, fragments of the floor, the blue of summer sky, or someone suddenly stopped, frozen by the camera so that allnada move, everything remains aesthetic. And visible. Texts written by Aura Lopez, cultural director of the Museum of Antioquia.
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