Definition of Catacresis: Metaphor which consists in the use of a word with a different sense than originally corresponds in order to name a thing that lacks of particular name.
This series has its origin in the same statement. Catacresis is a word that defines something that has no name and is assigned the metaphor. In this case the pin loses its function, its name is not used for sewing or for fastening, it is used for drawing. Paradoxically, the meaning given to this new use of the object is the same word that defines this situation. I am redefining the object. The pin has been a constant essence in my artistic process, it is a symbol of pain, of violence, of human existentialism, and now it is an element that supports my search in the expanded concept of photography. Photography is not just printing on paper, it is drawing with light. In this series the shadow resizes the work, its projection with the light broadens the meaning.
The shadows in my work are not mere reflections of form but an extension of the meaning within each piece. They emerge as a visual echo, a projection that amplifies the fragility, tension, and transformation of the bodies and figures I construct. These intangible traces interact with space, shifting the boundaries of the material into the elusive.
This relationship between the visible and its projection evokes both Plato’s Allegory of the Cave and Carl Jung’s theory of the shadow. Plato speaks of a reality limited by perception, where shadows are mere illusions of the truth. Jung, on the other hand, delves into the psychological meaning of the shadow, understood as the hidden part of our psyche—the repressed, the unknown. In my work, shadows are not merely optical effects but manifestations of that which exists on a subconscious plane, what we do not always wish to see yet still defines us.
As they interact with light, the pins not only hold and define but also generate new presences—forms that exist between the real and the illusory. As in Jungian theory, the shadow in my pieces is not just the absence of light but a reflection of what remains hidden within our identity. Shadows become bodies in themselves, distorted and evocative versions that speak of what cannot be touched but can still be perceived. They hold the memory of the image, its fleeting duplication, the weight of absence and latency.
In my work, the shadow is not merely the consequence of an illuminated object but a language of its own that expands the meaning of each piece. It forms a space where the physical and the ethereal merge, where light not only reveals but also conceals and transforms. Just as Jung invites us to integrate the shadow to achieve wholeness, my pieces confront the viewer with this duality—revealing that reality is not absolute but a construction of what we can and cannot see, of what we accept and what we repress.