“Camouflage Garbage” was taken in the area where the artist used to live while in Sweden.

At a formal level, the artist establishes a tension between the small scale of both photographs and the large scale of their picture-framing mats. Are the photographs too small for their frames? Are the frames too large for the pictures? What if something arises from the dimensional misfit? One thing is for sure, and it is that the frame must be considered a part of the artistic work. The viewer must come closer to the image, physically, in order to look at it, since it is impossible to have a reading of the whole at a distance. The image itself, captured from the real world, evolves and is given new emotional and conceptual meanings by the artist’s viewpoint, expressed in the title.

The garbage bins appear from behind the vegetation and their colours are associated with nature, despite the industrial manufacturing processes and artificial materials involved. Mimesis? Camouflage? There is a deliberate attempt at undistinctiveness between the environment – the garden – and the containers that hide the waste of human activity. This image, with its indirect reference to military camouflage, is a metaphor for the human need of creating simulacral screens aimed at hiding the unwanted outputs of human activity.