Patricia Canino is a contemporary artist who experiments the photographic medium both in its ability to create meaning and in its materiality. By using a cross-section of techniques to liberate herself from them, she creates unprecedented forms that reveal the extent of her reflections. She uses photography and its tools as means to achieve aesthetic experiences that simultaneously serve as experiences of distancing from reality, constantly seeking the gap between our perception of the world as we see it and how it presents itself.

At the roots of photography, her research is firmly based on the evolution of light, on chromatic inversions, and on the effects of light
on matter. By appealing to the cognitive, she plays with the viewer’s loss of reference points, taking them to the borders of reality, towards the imaginary, without ever allowing abstraction to be total. From this fragile balance, she draws her strength. Whether she is interested in seashores, dark waves, glaciers, or haute couture garments, everything becomes raw material for creating new forms.

Extracting herself from reality to offer multiple meanings, reinventing it. Above all, this mode of expression allows her to capture the beauty of the moment, a beauty to be shared. Equally comfortable in the world of fashion and clothing, where architectures allow her to explore lines of flight, movements, and structures such as the transparencies in Yves Saint Laurent’s work for the Lace Museum in Calais, as well as in realms where Nature reigns, she is also a researcher in the sense that her post-production work is inseparable from her artistic quest.

Bergson and the “inner cinema” are never far away when contemplating Patricia Canino’s work. For while photographic work is intrinsically that of the still image, it is clear that the photographer is an artist in constant motion. Through her quest to challenge boundaries and establish new frontiers, Patricia Canino aligns herself with the philosopher’s reflections on the perceptual experiences of reality, linked to the flash of the moment, the fragmentation of time and space, accident, speed, and the relationship to the machine. Bergson tells us that we must “settle into movement,” that we must enter into sympathy with the world, transporting ourselves inside objects “to coincide with what is unique and therefore inexpressible.”