For me, photography has never been about freezing time. As Susan Sontag observed, the medium often tends toward stillness, toward death. My work tries to resist that. Through composites, I seek images that shimmer, vibrate, and carry the resonance of memory — not a fixed record, but a living presence.

Whether I am working with dancers, monuments, or museums, I try to collapse the instant into duration, so that a photograph becomes less a document than a vibration of time. In Volumes and Lines, water became my subject and my metaphor — fluid, searching for equilibrium, always moving. In Morocco, New York, and across my travels, I look for ways to transform the photographic image into something alive: 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