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, 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.
On the other hand, the choice of subject matter beyond the inspiration in Hopper's work, refers to what Jean-Paul Sartre addresses in the context of his existentialist philosophy. Sartre suggests that the "I" we construct for society is often a form of "bad faith", a self-deception that allows us to avoid the anguish of our freedom and responsibility. In contrast, our authentic 'self' is revealed when we are alone and face our true nature without the pressures and expectations of others.
“Hell is other people"
