TITLE: Asimetrías Urbanas

Space does not have a form by itself, we are permanently framed in it and we move through its volume, we perceive the objects, the forms, in the same way that we feel the breeze, we hear sounds and smell fragrances and if it were not by the limits impose and setting its borders, its appearance, qualities, scale and its dimension, would be different.

A geometric urban vision that rises up through discordant development, creating spaces of apparent chaos and random growth, that in themselves generate a sense of non harmonious misshapenness, a lack of proportion and balance, resulting in fascinating symmetry.

AUTHOR: Daniel Agra (Spain)

Daniel Agra is a Spanish artist of abstract photography and fine art. His work is defined as subjective, experimental and conceptual expressionist visual poetry, with a profound imaginative capacity and endowed with strong intuition. Defined by a resounding individual and experimental personal mark that allows him to mentally project a great deal of his compositions with a language and style full of symbolism. His works have achieved wide appreciation, recognition and international dissemination. The more than 50 awards and international honour mentions of photography that he has achieved during his career should be emphasised, he has shown his work and participated in exhibitions across various countries, as well as published in assorted media and international art guides. His work can be found in national and international museums, foundations and private art and photography collections.

"Daniel Agra puts forward a photographic proposal with a recognizable identity, investigative coherence, and a clear drive to move beyond representation and into perceptual experience. His main contribution lies in that in-between zone where photography, abstraction and visual poetry cease to function as separate categories. His work is especially well suited to exhibitions devoted to contemporary photography, abstraction, expanded landscape, territorial memory, or new approaches to the photographic image. The international scope of his career and his presence in institutional and private collections reinforce this suitability, but they should not be the main argument for valuing his work. What truly matters is the progressive construction of a language of his own, one that defines his practice as a poetics of transformation: taking fragments of the physical world and turning them into open images, in which visible matter acts as the trigger for an inner experience. In this sense, he uses photography not only to show what exists, but also to explore what reality can come to mean once it passes through subjectivity. This is where the core interest of his work lies, and also its potential within the landscape of contemporary photography."