The Light Jam series (Mermelada de Luz in Spanish) is part of a collaborative project in which I have invited photographers to participate with a black and white self-portrait (or with a reduced color palette), which I later color, print, put in a jar of jam and re-photograph. As in @face_of_our_time the visualization space of the project is Instagram, where users can visualize, interact and comment on each photograph. The motivation of the project is to offer an alternative space of representation and to reflect on how the participants interact with it; it is interesting to observe how in some of the proposals sent the photographed subject organizes the scene relating it explicitly to the context of representation proposed (confinement in a boat) – see: Rob Townsend, Christopher Whittle, Neil Gallagher or Roberto Morales – or they resort to more metaphorical or poetic resources in their proposals (Sonia Señorans, Thomas Canet or Puri Diez). Some authors propose the very materiality of photography as a subject (Iñaki Matilla or David del Haro).


If the photographic typology is defined as the privileged mechanism to organize, classify and model the visual consciousness of reality, the glass bottle seems to imply (and amplify) a preserving intention that transcends the materiality of the photographic medium itself. It is paradoxical that in a context of collaboration and digital visualization, the development of the series requires the previous materialization of the images proposed by the collaborators in order to include them in the series. The author who participates in the initiative knows and agrees that his image will be manipulated and distorted by the effect of reflection and refraction caused by the glass bottle. The jar is, therefore, a crude metaphor of the screen and the digital representation algorithms.

Have a look at the whole series in Instagram:

You can also browse the entire series in the Lensculture site:


“In a world characterized by iconic saturation, many artists are inclined to apply strategies of collecting and serialization, and provide examples of ‘artwork-collection’. In doing so, they realize two things: first, that much of anything is interesting; and second, that inventing criteria for classifying diversity represents another effective way of constructing meaning”.

Joan Fontcuberta. La furia de las imagenes, 2016