Photographic project that arises from the observation and visual reconsideration of marginality. Although the project takes as a starting point the social dimension of the concept, it also seeks to broaden its understanding to different aspects of reality, which include identity, territorial, architectural, and landscape conditions, among others.The project intends, from a specific visuality, to reconsider what is in the margin and not usually protagonist in official narratives; marginality as a continent of the impoverished, disregarded and unfit, which always from the sidelines, appears to be in a constant attempt to take in and integrate the institutional. 

 

Through an aesthetic that could be referred to as photographic “sculpturalism”, Marginalia tries to give order and relevance to marginality through the statism and erectness of the photographic subject-object, focusing foremost on an aesthetic discourse, leaving aside ideological o ethical commentaries (usually found on the type of photography that some have called “misery porn”). Marginalia is not a photography about marginality, but the photograph itself is marginal; there is no theme external to the medium, since the project itself is a discourse on a way of taking photographs, a comment on a marginal look, based on photographic rescue and dignification of the non-anecdotal.