The vision continues to take shape with a new series, as a flux of serial disruptions and expressions of pictorial beauty that serve as a tribute to painting and photography that explores the terra incognita of a dreamlike photographic world. 35mm film on enlarged prints. The original intention must remain pure to maintain the process of this evolutionary creation. Moving from 0 to 1 (Visions I, II, III and IV, 2013-2016), the series passes from 1 to 2 (Variations 2.18, 2017-2018) and soon beyond (Expressions 40, 2019-2021), with more to come in the near future. Up to 9. No further. Leaving the solitary trees of the plain behind to penetrate the forest, Variations 2.18 simultaneously arrive to break the cycle of strict black and white. The approach is binary, digital. Primary too. Pure like the silence of children playing. Open your eyes to a colored light, then close them long and hard, and look for supernatural colors with new forms projected on the retinal screen. Disrupted forecasts.
Healthy too. Do not be afraid of the forest anymore. Leave the city rat's robes behind to gain the nobler vestments of the field mouse. If only even for a few hours. The singular line of the horizon is broken by the vertical crossing of trees and their horizontal heights, the utopian inspiration for the City 2.0. Is the big bet to keep closing our eyes and refuse the idea that error is urban? I will continue to close my eyes to better see this augmented reality in the search of daydreams. Nightmares stink. This story is written in silence and is read over time.
These images are digital only in name. In fact, Baghir shoots using traditional B&W film and prints with a photographic enlarger on silver gelatin paper. The photographer visualizes his subjects in advance, using his camera and self-designed filters to record the envisioned image as a photograph that is then enlarged without being retouched. An homage to painting as well as black-and-white photography, his works are a study of pictorial beauty, with a subdued, painterly quality that exists in a tangible space outside of direct photographic representation and the fantastic elements of painting. This series was realized over the course of four years in which Baghir took over 15,000 photographs. Each photograph is titled numerically as a means of preserving the imaginative breadth of the image.