"MONTIEL"(1985) - "FOTOGRAMA"

Frame presents the body of the fish as a still image, a suspended moment between what is natural and what is constructed. The work starts from a recognizable figure, but visually decomposes it through fragments, textures, lines, and geometric shapes that seem to belong to different moments of the same image.
The title refers to the frame as the minimum unit of a visual sequence: a fixed image that contains the possibility of movement. In this work, the fish appears to have been stopped at a particular instant, as if it were a fragment extracted from a film or a memory. Its different planes and materials suggest that what we see is not a static representation, but the record of a process, of a movement that has been interrupted.
The fragmentation of the anatomy creates a tension between continuity and rupture. The fins, scales, and internal structures reorganize into a composition where each element functions as part of a larger image. The geometric areas introduce an almost cinematic dimension: the body seems traversed by different times, framings, or overlapped moments.
The contrast between the warm tones of the background and the blues, ochers, whites, and blacks of the figure reinforces this sense of a revealed, intervened, and halted image. The fish ceases to be merely an animal and becomes a kind of visual record: a moment that preserves the traces of what happened before and what could happen after.
Frame thus poses a reflection on time, memory, and the image as a fragment. Each part of the fish functions as a stamp of a movement we can no longer see. The work freezes a moment, but at the same time leaves open the possibility of imagining what happened before and what will continue after that suspended moment.