The project stems from the use of screenshots taken from amateur pornographic videos, selected because they were probably created out of an intimate desire, lacking aesthetic artifice. One observes how, between the people portrayed and the medium of video, a form of trust develops that causes the camera to disappear, allowing the subjects to embody the condition “I am as you see me.”
This presence manifests itself violently when the people being filmed stare into the lens, resulting in images that do not appear pornographic. The intent is to remove these moments from consumption: a term used in reference to the very nature of such products, which are forgotten once their function is exhausted. Added to this is a second form of consumption: that of time and the medium of video. In this context, the violence of photography is employed in an attempt to rescue these images from digital oblivion and ensure their survival.
The title Indoor refers to the everyday spaces where this intimacy manifests itself—domestic environments traversed by ordinary gestures that become traces of presence, places that absorb and retain actions, transforming into surfaces of memory.