#Izaac Enciso

[izaacenciso]

From the Book Fifty One Miles by Izaac Enciso A journey through the Los Angeles River.

[drawdownbooks]

Tunica No. 5⁣ Available at www.draw-down.com⁣ ⁣ Each issue of Tunica presents the art of Individuals and stands for the reality of the present. Tunica is a cape of good hope, created for the fundamental artists that exists in everyone. Contributors for this issue include James Orlando, Sita Abellan, Louisa Gagliardi, Takanori Okuwaki, Roberto Piqueras, Eme Rock, Yung Beef aka Fernandito Kit Kat, Eyedress, Prefuse 73, Ilja Karilampi, Terranova, Wickerham & Lomax, Alexa Karolinski, Gaspar Noe, Karen Aragon, Le Roy, Matthew Connors, Izaac Enciso, and Robert Beatty.⁣ ⁣ #CórdovaCanillas #Tunica #Magazine #MagazineDesign @magculture @spdesigners #welovemagazines (at New York City, N.Y.) https://www.instagram.com/p/B8l7v6cH8Pv/?igshid=1qzv54dxcg4l7

[archive-gallery]

Izaac Enciso

[k18]

Izaac Enciso (1980-) #今日の写真家

https://www.izaacenciso.com/

[phornographyzine]

Izaac Enciso

[uno-universal]

Izaac Enciso

[billellisiiinsp]

Izaac Enciso

[perjus]

ISSUE 2

Photo by Izaac Enciso

[izaacenciso]

Fifty One Miles by Izaac Enciso  A journey through the Los Angeles River Book Cover 2022

[thisispaper]

Izaac Enciso captures a phenomenon of the first impression

[fm4c-blog]

Te compartimos el portafolio “Symbols” de Izaac Enciso, quien asegura que no se debe seguir un estilo o corriente, ya que al momento de etiquetar se puede bloquear el proceso creativo. Su intención es transmitir ideas y energía a través de la abstracción..

[uno-universal]

Izaac Enciso

[cargocollection]

IZAAC ENCISO

[hautefood]

Photo by Izaac Enciso 

via Paper Journal 

merci Giulia Soldavini 

[perjus]

Extended look at "SYMBOLS" by photographer Izaac Enciso in PERJUS Magazine issue 2.

Through a daily practice of walking, Izaac Enciso embarked on a comprehensive body of work focused on public space as a living organism shaped by unconscious changes people make to their environment as they live their daily life. In an exploratory journey imaged through the lens of his camera, the artist created an index of visual information that allowed him to engage with ideas concerning the aesthetics of the everyday and his own psychological subjectivity in relation to the anonymous actions of strangers. The residue artifacts and symbols left by others served as inspiration for a sort of magical thinking that led Enciso to an understanding of his past and have cues of his near future.



In an effort to become familiar with his surroundings, the artist began to go on daily walks throughout his neighborhood. Without any particular destination in mind he would simply walk. Desire became central to his journeys which were led by where he pointed his camera. Guided by a desire for beauty and authenticity of experience, rather than the capitalistic notions of commerce and productivity, Enciso explored the urban map in his own way. By avoiding the main thoroughfares, massive boulevards, and gargantuan freeways constituting the general flow of people in Los Angeles, the artist was able to see the city from the slow and methodical perspective of the pedestrian. Nuances lost to a motorists zipping through streets and multi-laned freeways became the sensory stimuli from which he drew his subject matter. Inanimate objects like a mop mysteriously hanging from a rooftop, or a motorcycle covered with a red tarp began to breathe a certain kind of life. Traveling on foot through the oblique back streets and alleyways of the disparate neighborhoods that form the sprawling footprint of Los Angeles, Enciso entered a genuinely unpredictable and subjective space, affording him the opportunity to experience the world around him on his own terms, within the logic of his own psychological interiority as opposed to the inherently exteriorized logic of the city.

Freed from the exterior constraints of the city, Enciso began to view the arrangement of objects left behind in driveways and alleys, on curbs and side streets, as spontaneous and unintentional sculptures made by others and worthy of focused artistic investigation. Meditating on these subjects he began to appreciate the formal elements of color, line, and shape that characterized them in addition to the accidental spontaneity that brought about their existence. His photos progressively became more abstract as he honed in on their universal qualities, while simultaneously becoming complicated as they began to take on symbolic resonances. His work increasingly became an exploration of pure form with an underlying spiritual subtext. The artist drew his attention to the straight edged shadows cast by objects standing in the harsh midday sun, vibrant patches of color, the sophisticated arrangements of parallel lines, and gridded patterns made by overlapping wire screens. The artist began to see these left behind objects not only as compositions, but as premonitions relating to his own life: a ladder propped against a wall became a means to gain access into another country; a postcard head-shot of a celebrity actress sitting upside down in the rotating display of a Hollywood trinket shop became an omen of ill fortune; one that for him would predict the end of a love affair. In his constant search for visual information the artist came to see that every human action leaves behind its trace and what remains of those gestures speak to the subconscious creations made by our psyches.

Though his walks took him through most of Los Angeles he did not always encounter subjects that he felt compelled to photograph. On trips where he would wander for hours finding nothing, Enciso began to play with the materials that he saw around him. Much like the unintentional arrangements he initially encountered, he began to leave his own traces and manipulations and make the city different for the next passerby. His quiet artistic interventions became an imaginary dialogue, not only with the people around him but also with the objects they transformed and left behind. The artist would arrange oranges on stairs, take a photograph, and most importantly, leave them behind for someone else to discover. The oranges would be arranged in such a distinct way that a passerby could not deny that they had been intentionally placed by someone. Even though he would never meet the people who later encountered his arrangements, he hoped they would pause and observe these anonymous uncanny configurations, and perhaps experience something similar to what he felt on his own walks.

As he saw it, not knowing who had done something to an object or situation was part of the joy that fueled his desire to discover. In this way the artist was encouraging others to engage with the city in these ways and to imagine it according to their own unique and personal perspectives.

The journeys and discoveries he made in Los Angeles encouraged him to venture on to Mexico and the various cities where he had grown up. Traversing the Mexican landscape was distinct for the artist in that he had an inexorable and established physical and psychological relationship to that environment. He was no longer simply in a new place discovering but rather in an old and familiar place, re-discovering. He was reliving the contents of his memory by tracing over steps that he may have taken years before and thus helping to paint a clearer picture of what constitutes his identity. While using the background of his youth as a subtext to his new subject, he approached the landscape in Mexico very much as he had done in Los Angeles, setting aside hours to go on day-long meandering walks; his only task was to wander much like the Situationists had in France in the 1960’s and to take pictures of the objects and gestures that reached out to him.

The importance of the photograph in Enciso’s practice is central in that it guaranteed that the gesture seen by the artist in the landscape would exist beyond its static state. In one respect the photograph serves as proof that what he either saw or created actually existed. In another respect, the making of the photograph was the tool with which the artist was able to mediate and realize his desire to see and to create. The photographs in this book and the interventions made along the way are Enciso’s form of passing on the traces of his encounters and contributing back to the well of objects, images, and experiences 
from which he fed.  

 Preface by Esteban Schimpf

[izaacenciso]

From my book “Fifty One Miles” released 03/21/2022