Noises from the Silent Land.
My father was a biology teacher. When I was a child, in Girona, he sometimes took me to his laboratory at the school, letting me look through the microscopes and allowing me to feed the snakes and lizards in the terrariums. This founded my strong fascination for biology and the origins of life. When, as an adult, I moved to Sweden, a land of forests and lakes, I came in closer contact with nature and found a new way of existing in it. An awareness of the challenges of our environment started growing in me.

When I was invited to do a glitch photography artist project inside the 100-year-old dioramas of the Biological Museum in Stockholm, I didn’t hesitate. My endeavours became the image series Noises from the Silent Land.

The diorama of the Biological Museum is a 360 degree display of the Scandinavian nature, populated by stuffed animals. Dead, nowadays dusty and grey animals, that have been sacrificed in order to tell a story of the Scandinavian landscape and its wildlife. A story meant to awaken love for nature, but at the price of killing some of its inhabitants. It’s a condensation of the antropocentric world view, where the animals are ours to kill and keep, but also our responsibility to preserve. It’s a realistic, yet completely unreal, image of an idealised environment.

Recently exhibited at the Noorderlicht International Photofestival 2017 in the Netherlands.


One can’t see the forest for the trees!
What does that really mean? That what you look at arouses your interest so much that you move closer and closer until you ultimately cannot see the entire image? The forest disappears from your focus and what you see instead is that the forest consists of – just trees. But what is the forest if not just trees. No trees – no forest.

This ancient idiom of the complete picture that disappeared among the trees can also be used to describe the artist Serinyà’s work on his series Seascapes – landscapes of the sea.

These images could be trompe l’oeil. But the artist can not fool your eyes. Your eyes see what they see. They can be trusted. It is what your references, past experiences and preconceived ideas do with what you see which is actually tricking you. So, blame yourself if you get lost on the water’s edge!

Serinyà often works this way. Hiding something for us to discover. Setting up his camera and capturing what we have always seen, but not understanding that we have seen it. And he almost always adds chance to the process. The random is always there, so why fight against it? Invite it in instead. Take a dance with chance, so the end result will be both more interesting and less predictable – this is Serinyà’s approach to his art.

By studying his photograph images in the series Seascapes, you will question these preconceived ideas. And maybe you will even learn something new about yourself. You might even get a better overall understanding of your own way of seeing.
– Hans Malm, photographer


An intimate history of survival. A cold desert of solitude and isolation becomes the canvas where a personal drama is projected.

When the worst prison is the one that was constructed upon oneself, staying still is accepting the defeat.

Going forward felt like the only option. But towards where?

The distorting power of the layers that they constructed around me had been meticulously designed and crafted during more than 2000 years of lies, death and destruction. I could not fight the elements, I could not fight the guards of the layered prison, but first I had to survive.

So I started walking.

To avoid walking in circles, one needs a point of reference in the distance, a sign, a little anomaly, something sticking out of the emptiness.

And then walk towards it. With the determination of the one who has nothing to lose. With the strength of the one that questions everything. With the anger of the one who feels that has been living a lie. With the acceptance of the fear of not knowing what might happen next.

Those little signs protruding out in the cold void…where the books that I read, the people that I met, the thoughts that challenged everything.

They altogether became the friction that opened the first holes on the walls of lies… till I reached the horizon all by myself. After a long survival journey, I was finally able to scape.

Through that opening, I saw a world that had been there all the time, just invisible to my eyes.

More real, warmer, feminine and loving.

Archival pigmented prints, wooden frame antireflective UV Artglass , 52x52cm.

Dancing with the Glitch
In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”. It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin), specifically impermanence (無常 mujō), suffering (苦 ku) and emptiness or absence of self-nature (空 ).

Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.

Dancing With The Glitch serie is the result of a playfull wabi-sabi aproach to digital photography. Away from their aseptic technological perfection, these fruit of randomness in digital images, celebrate the art of finding beauty in imperfection.

Archival pigmented prints. 30x30cm. Edition 25+2AP

The Accidental Potential
A glitch is a rupture in information flow, which forces the digital file out of its flawless hyperrealistic design to a reality of randomness and imperfection.

It exposes the true nature of digital photography hidden beneath its formal facade.

While everything operates as expected, this fragility remains invisible, concealed by the layer of expectations that defines photography itself.

Compared to traditional chemical photography, the potential for errors has been drastically decreased with the advent of digital photography. For professional photography this has been a relief and real game changer, as it relies heavily on efficiency and performance. For art photography this has represented a shift in the way some artists explore and allow errors to intervene in the creative process. At the same time, digital photography has become a catalyst for a post-photographic era.

The original meaning of the word error suggests: to wander along a different path, without a purpose, but with the potential for unexpected results and consequences.

Glitches like these can be generated by fortuity or purpose. Modernism, Abstract Art, Dada, Happening and Conceptual Art explored them, and nowadays it is a key factor in Dj, remix and hacking cultures.

Serinyà’s body of work orbits around layer phenomena. At the center of his research, the exploration deals with some of their defining characteristics, such as their invisibility, theircapacity for distortion, but most importantly, the parallelisms that these phenomena and their consequences have in common with cultural and social systems.

In this context, a glitch represents the anomaly that reveals the presence of a layer occurrence and it becomes a vital moment of revelation and a fantastic opportunity for awareness.

Serinyà on Artsy