In 2016 alongside the talented photographer Kela Coto, I was lucky enough to take part in a photography exhibition hosted by the Gallery Arancha Osoro in the city of Oviedo/Uviéu, in the north of Spain.
The gallery’s text read as follows:
From the Arancha Osoro Gallery we revindicate the fresh and young photography with the exhibition “Miradas y Narrativas” and with some Asturian protagonists Kela coto and Álvaro Trabanco that make up the exhibition and that can be visited from April 14 to May 15.
In “Miradas y Narrativas” photography comes to life and invites you to go deeper than aesthetic beauty to lead to a thought; to elicit a reaction.
Kela Coto, (Gijón 1979) studies journalism at the Complutense University of Madrid and is trained in photography through several workshops and a master’s degree in documentary photography at the EFTI. For a few years, she has worked as a professional photographer but remains in the regional and national artistic circuit through individual and collective shows.
The artist presents us with a series of real landscapes of poetic appearance for the exhibition through white light strokes and monochromatic games, which seep into the evident fog. The technical qualities and infinite compositions of Kela’s analog photographs merge into a final result where giclee printing allows you to obtain exceptional definition and total control over your work.
Álvaro Trabanco, (Gijón 1991) studied Graphic Design at the Superior School of Art of Asturias and at the Superior School of Arts of Caldas da Rainha. He is currently studying the Master in Communication Design and New Media at the Faculty of Fine Arts in Lisbon.
Although casual, since he does not plan its snapshots, he manages to create a subjective static image through a daily visual search where shapes and textures play a leading role.
His digital photography directs attention to the serenity of a composition that immerses the viewer in a darkness that goes beyond the light. In these moments found, color is only present when it becomes an end, not simply a medium and, human forms, are intuited in what the artist points to a relative isolation of himself.