As a pastime, photography has connected Camilo Guevara on a spiritual level with everything that he finds interesting and worth experiencing. It involves a conscious act of creativity and learning that, for him, has nothing to do with the pretentious, often hackneyed way that artists recreate everyday life. Far from useless complacence, there is always space for experimentation and the search for a previously unnoticed composition or angle.
Despite any similarities with a given work, his authenticity comes to the surface, emerging from a specific interest. A lawyer by profession, he had to study technical photography, a requirement for criminal investigation, but he also learned his way around the laboratory, working with chemicals and paper prints. That might have been what sparked his interest in the art of photography.
About 10 years ago, he decided to carry out a project, and he began selecting themes and analyzing them, some more than others.
Immersed in a world of images, today Guevara reflects on the tendency to exaggerate the relationship between images and contemporary life, and asserts that those who devote themselves to photography are influenced by what they are looking at, but also by how they are able to reinvent their surrounding world through their imagination.
He admits that he prefers analogical photography, because it comes from the frontier of change, and he perceives it as more enduring. However, he recognizes the blessings of digital photography and the development that it has undergone over time. “Without question, the day will come when film will be like a museum piece, just another rung in the evolutionary process of art,” he said.
With its markedly social character, Guevara’s work is not exactly a chronicle of life, although it borders the genre. The camera is a tool and not an appendage of the body, as some may view it. “A photo can be constructed in the mind so that you can go out and look for it; sometimes it is very difficult, but it can almost always be done,” he said.