The ability to register reality. This may well be the major characteristic of this technique we call photography. The camera, as the main instrument, serves us to capture, in an amazing way, small details which are part of it. Is there anything more reliable than a photograph to demonstrate that something really exists and show its characteristics? Today, more than ever, in the era of virtual retouching, we know this is not true. However, regardless of this, our visual culture continues to demand more images.
For an advertising photographer, as has been Hitters for almost two decades, the temptation of breaking functionalist mandates often becomes unbearable. That is why all of a sudden, he found himself using his camera in a different way, as if it were a brush.
The images that make up this exhibition are good examples of this view, when he is liberated, at least in his spare time, of the tyranny of focus and detail. As a crazy monkey with brushes, Hitters makes the most of the camera´s resources to repaint what his eyes see through the lens: a reality that is less real, more ductile and less accurate.
We don´t know whether he is an electronic painter or a photographer who has turned into a painter. The truth is that those brushstrokes that make up these works tell us of emotional landscapes rather than being a record of reality. Disobedience has produced a new world, free of precisions and details.
At least for a moment.
Lorenzo Shakespear, 2010
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