Gómez Selva (Murcia, 1994) is an artist based in Bilbao, Spain. His work explores the codes of visual narration in documentary photography and the interrelationships between people and the spaces they inhabit. His work is usually presented in the form of self- published photography books and installations. He has been selected for various national and international calls such as Panorama (CENDEAC, Murcia), Revolv Collective (London), and Ertibil-Bizkaia (Bilbao). In 2018 he participated in the Tabakalera (International Center for Contemporary Culture) residency programme with artist Natalia Suárez. His work is situated between photography and the essay, although he also explores the audiovisual and publishing world.
Gomez Selva wants us to be a tourist in our comfort zone. He wants us to research our territory, as he says, understanding all its possible dimensions, such as social, cultural, political, territorial, economic or religious. There are countless factors from which to work a territory; factors that turn us into "intruders" when using certain identity values. The concept of landscape is linked to the territory and forms part of its identity, but is also an aesthetic and formal result of certain conflicts, legacies, and can be even considered as a mark of what a territory has once been, and of what it now is.
‘’Tora, Tora, Tora’’ invites to consider our position in relation to the subject. It opens a debate about the manmade, both physically and psychologically. When I travel, and I think is a common feeling, I face the realisation that how vulnerable is the conceptual system which explains and gives sense to our lives. Our perception is inevitably bound up with our everydayness. Sometimes it is necessary to step out and see from a different angle. That is What Gómez Selva offers to us, the possibility of a familiar estrangement.
Tora, Tora, Tora!
Who´s not a stranger? This constant combination of uncertainty and self-possession make us the ghost of our familiar things. Part of What makes Gómez Selva´s pictures so gripping is the sense of intrusion in the everyday. Form released from our perception as a tool can set a misplaced assemblage of glass, coated steel and flawless surfaced plastic. This natural estrangement continues when mind loses its delusion of authority, consisting of a body moving to its extreme in conflict with its social landscape.
The objective of Gómez Selva’s research project is to reach an intermediate point between the study of a landscape for its symbolic and ideological value, and its formal value. The relationship between one's identity and another's legacy does not have to be synonymous with cultural or social intrusiveness, but this process of questioning and fragmenting conflicts of others allows the resignification and creation of multiple conceptions of the same landscape, even working from a point of ambiguity, uncertainty and the mutability of images.