Photography, for me, has never been about freezing time. As Susan Sontag noted, the medium tends toward stillness—toward death. My work resists that. Through composites, I look for images that shimmer, vibrate, and hold the resonance of memory, not a record, but a living presence.

Whether with dancers, monuments, or museums, I try to collapse the instant into duration so a photograph becomes less a document than a vibration of time. In Volumes and Lines, water became both subject and metaphor, fluid, searching, alive. Across Morocco, New York, and my travels, I seek to make the photographic image breathe: a dialogue between vision, sound, and sensation.

Marco Guerra

The Man Who Lead Me To The Echo.

Reflection – reverberation – delay – diffusion – feedback – and echo may sound more like techniques used by musicians than by photographers, but Marco’s Composite of Many Moments photographs evoke the same sensations. It’s almost as if I’m experiencing a kind of reverse synesthesia. When I was around three and a half, I had my first synesthetic experience: as I played the notes D and E on the piano, I saw the colors yellow and orange with my eyes closed. In Marco’s case, his visual work feels like music to me.

Marco imbues his photographs with an intuition of the unknown, allowing the soul to slip into his work through the cracks, while the soul of his work slips into us through reflections – reverberations – delays – and echoes.

By Richard Horowitz