Sandra Matamoros

Artist, plastic photographer. Lives and works in Paris. Graduated from the Ecole Nationale Supérieure des Arts Décoratifs and Sorbonne Paris 1. Her work is concerned with showing the invisible spaces that surround us, spaces of consciousness, conveyed by our thoughts, our dreams, and their influence on reality. It was cinema that brought him to photography.

His first series borrowed emotional writing: intimacy, a moment of contemplation on the banality of everyday life to make it more poetic. By moving from the intimate to more universal themes and evolving into a more plastic process than before, Sandra retains through photography all the emotional dimension that she developed at the beginning of her career.

What is the truth, the perception of time, how to show invisible spaces? The meaning given to his work is part of an artistic and philosophical quest. It tells about man in his relationship to the elements and to nature.

For 7 years, her work has been shown in various group exhibitions (Palais de Tokyo, the Biennale de Lyon off, the Fiac off, Galerie Derouillon, Objectif femmes 2018, the Beffroy de Montrouge (Miniartextil 2019 exhibition), in France and in Italy. Her works are present in the collection of the Emerige Foundation and in private collections Sandra recently participated in the Salon Turbulences edition 2 (2020), directed by Isabelle de Maison Rouge and Editions Tribew.

Extract from the text written by Isabelle de Maison Rouge, curator and art critic, on the work of Sandra Matamoros: “[…] Her photographic work creates a dialogue between places, landscapes with vast expanses and interior spaces vectors of intimacy, but also colors, lights and visual concordances of sensations. […]. In all of Sandra Matamoros's work, the viewer assumes the existence - beyond the edges of the frame of the photograph - of an invisible space contiguous to the field and also belonging to a kind of fiction. This space forms the off-screen that Sandra Matamoros lets us perceive. It uses a diegetic function with images in which bits of stories are told to us, but also the fictional universe that this narration creates and in which it takes place. The viewer, according to the precept of Marcel Duchamp, mentally constructs from the elements given by the image, a pseudo world whose existence is assumed by the visual story and completes the work. The off-field that the artist proposes expresses the space excluded from the field by the framing and imaginatively prolongs it. […] “