Hopper Essence

It is curious to think that, for a time, Edward Hopper photographed architectural details and spaces and then used the images to support the development of his work, and that he abandoned this procedure, convinced that the photographs differed greatly from the perspective of the human eye. Perhaps he thought that it is impossible to represent what we see with our eyes through a lens, or that what is important, after all, is his own internal vision, i.e. subjective perception. In 1992, a number of American photographers paid homage to Hopper in an exhibition linking photography and painting. At the event, Joel Meyerowitz emphasised the fundamental difference between the nature of photography as a momentary event and the nature of painting as a process, but what happens when we unite both languages in the same work? This project, currently under development, is made up of a series of photographs represented around Hopper's work, where the views of the windows are created by the artist himself with acrylic paint on canvas, as well as the scenography made on a real scale. We see his wife, just as Hopper depicted Jo. We can think of it as a portrait of her or, as the painter did, we can think of it as a portrait of any of us, a place where we can take shelter. Decide for yourselves what is through the window.