¡Vivan los novios!

If Barthes has been able to say that the essence of the photographic image is the ça été, that is, the certainty that the thing represented has been there one day, alive, present and real, like a breathing body, he does so from the assessment of its evidential character and from the recognition of a demonstrative value that is essential to it. This evidence, which accompanies the photograph, becomes value and documentary proof. But this search stops before the shadow of something that refuses to be explained and that marks the limit of the reading. It is its shadow or that unrepeatable instance, exhausted in its instant and that has remained fixed, made gesture.

The history of photography is populated by instants, by gestures. There are the series of American portraits by Walker Evans or Robert Frank, deliberately random portraits, but faithful to certain documentary concerns, interested in showing a world that is no less real for being distant. Susan Sontag recalls the impression described by Jack Kerouac in the prologue to Robert Frank’s “The Americans”: his portraits brought her the wild sensation one gets when the sun warms the streets and one hears music from an automatic record player or a funeral nearby. The most distant became close, and the near took on dimensions of absence. A distance that magically accompanies this series of photographs that Juan de la Cruz Megías now presents to us.

The old wedding ritual is narrated again from the sequence that the eye of his camera builds. A sequence that drags, against the evidence of the apparent, the time of the subjects, exposed now to the decisions of life. Fantasies, fears, anxieties and complicit waits go through the party that stops, sometimes, sometimes rushes, sometimes, as if it were secret omens. Boyfriends, girlfriends, belong to the moment that the camera stops as if it wanted to ignore fortune.

Text by Francisco Jarauta

 Juan de la Cruz Megías

Cabezo de Torres, Murcia

He began photographing at the age of 11 with a Voigtländer, a gift from his parents. Without a teacher, but a lot of curiosity, he trained in both social photography (portraits and BBC) and industry (architecture, corporate image and advertising).

In 2000, he won the award for best portfolio in PhotoEspaña and the consequent edition of the book Bodas/Weddings 1979-1999. To which would be added the titles “Vivan los novios”, “Pan, vino y azúcar”, “Latidos de hormigón”, and soon, “MantenYmiento”.

Photography by Pablo Ferao