By turning a three-dimensional thing into a 2-dimensional thing, you wed it to its surroundings and achieve a field where every phenomenon, tangible or not, becomes a shape. The shapes can then be seen as entities independent of the phenomena they were identified with in “real life.” When the camera arrests motion by capturing a moment, shapes can be read as things that point to another world and other beings.
My idea for critical fictions came from this type of visual problem. Making a work of art from and about another work of art is common in the visual arts world, less so, at least as conscious strategy, in the literary one. Here, with Gaudi’s architecture, I tried to translate a three-dimensional work of art and the spatial experience it provides into a two-dimensional design that conveys some of the excitement of the spatial experience.
Taking pictures of water is very like writing with a constraint. You cannot have a preconceived idea of the result. You take what the circumstances give you, find where to place the edges and in what direction to orient the whole.