To make the work owe only itself is an old ideal of modern art: to cut the ties that link it to natural reality and let it stand, all contained in its pure limits.
To retake this venerable pretension without incurring in abstraction and, moreover, to do so from the photographic medium seems almost impossible. But Patrik Grijalvo has found a way to shore up the autonomy of his images, weakening their link with the real referent -without losing it- and claiming their condition as objects.
In his hands they become sculptures: pieces of a delicate and subtle volume, achieved by a serene composition of planes. The result, far from being capricious or redundant, transmits a harmonious sense of necessity.
The artist does not impose any three-dimensional form on the images, at his whim, but constructs it from the attributes of the photographic surface. One of the peculiarities of photography is the focus, which forces to discriminate areas of variable sharpness and, therefore, to mark the various planes of depth.