ALEXANDER CABALLERO DIAZ | LIMA, PERU
Alexander Caballero Diaz (Lima, 1989)
I am an independent photographer from Peru and a recent graduate from Centro de la Imagen, a photography school. My background also includes social studies from the Pontifical Catholic University of Peru, and I’ve been part of photography workshops in Buenos Aires and London.
I am interested in self-publishing and prefer to work with an analogue camera – mainly colour films. Overall, I am open to experiment with different audio-visual mediums and practices.
In the near future I would like to run participatory photography projects with young people. My country underestimates the importance of photography as a form of communication, particularly in poor areas like the one I come from. Additionally, I believe visuals are a form of therapy.
Recent group exhibitions
Casa Fugaz. Monumental Callao, Peru.
Salón. Lima, Peru.
Centro de la Imagen. Lima, Peru.
Salón. Lima, Peru.
What is your work about?
My work explores portraiture and documentary photography. Some of it focuses on my immediate surroundings and the majority explores gender and identity.
Taking this into account, photography has always been a process of experimentation to address issues that interest me; it is a valuable platform to materialize ideas.
To take a photo means far more than just a click; it is to getting involved with the topic you are dealing with, it is connecting with the people you are photographing, and it is a whole experience that goes beyond the resulting image.
I am interested narrating stories from the side-lines, without giving too much away. I prefer to drop hints – much like poetry, and challenge the spectator to make their own interpretations and stories.
How does photographing on film (or using your material photographic process of predilection) inform your artistic practice?
Photographing in film adds a nostalgic air to my images, it’s an important element which helps me convey that idea of memory and family that I focus on. Oddly enough, enjoy being limited to take a certain amount of images on film – something alien in our evermore digital age. This limitation enables me to think, carefully analyse my scene and appreciate every shot I take. Film is quite expensive in my country, so that subconscious pressure can and has led to great rewards!
Another reason – and this is more personal – is that moments captured with film feel far more ephemeral than with digital, and that interests me a lot. You do not know if you failed until you reveal your photo, and even that failure could end up resulting in the image you were looking for. While I know this can also happen with digital, I find it to be more of a manipulative process, which does not catch my interest for now.