OPENING  Saturday  October 10th (12-15 hours), 2009
Until October 30th, 2009

Erick Weeks is a sophisticated artist who uses the finest possibilities of the photographic technique to make representations of extreme spruceness and subtlety. The strength of his work stems from such delicate but yet powerful forms, those that evidence a sensitivity of their own, some of the best in modern photography. The balance between form and spirituality makes us feel we are before an artist who is formed with a taste for the classic, which enables him to find stimuli in the Renaissance paintings as well as in those of the Baroque or Classicism.

The series El mundo estaba en el rostro de la amada (World was in the face of the beloved) is a set of photographs that Eric Weeks has been taking during the last years. All of them are portraits of his wife, who serves as a model for a series of representations filled with ideality and lyricism. Although this project rose from the profound affective relationship between the artist and his model, his best achievement is that he generates a multiplicity of identities of the portrayed woman, as if what the author was really looking for was a universal sense of the feminine; a timeless and transcendent femininity.

The variety on the portraits is also derived from Week’s talent for the selection of spaces which become settings. Most of the time, they are delicate atmospheres that frame the woman’s face or body, closing the figure with an aura of intimacy and distance. The soft illumination, the subtle hues, the punctually located colors, are elements that make each composition the equivalent of a poetic system built with balance and elegance.

There’s so much simplicity in Eric Week’s work that the critic’s statement may come up as profane and coarse. Nevertheless they are learned pieces, and full of varied conceptual hues. In an interview the author himself pointed out his attraction for Reiner Maria Rilke’s poetry, to who he owes the series’ title. With that reference that sense of a cult to the beauty enclosed by this set of photographs is better understood. And his idea of beauty as something that can only be grasped imaginatively. This poses a challenge to the conventional way of reading photography, since here the origin of what is visible can only be looked for in the formless, whereas the form is only the beginning of an enigma.

By Juan Antonio Molina (translated by Leticia Consuegra)