José Luis de la Parra
What is a vital constant? Can it be something constantly present in our lives? In the case of this creator, yes. His great-grandfather Álvaro was, in addition to being a winemaker, a photography enthusiast; his grandfather, of the same name, settled in Villafranca, took the most memorable photo in El Bierzo in 1936; his father José Luis, either on a bicycle or on foot, made Toro (Zamora) his photographic bastion, and the Plaza Mayor of this noble and loyal city his center of operations. And now he opens his tripod and sets it on the ground of Madrid.
With some distance in his childhood, with good training in his twenties, a lot of work in his thirties, and a lot of experience in his forties, today, this craftsman of photography portrays culture, exhibitions, interiors, and buildings, but, above all, he looks for concepts. He does not work at random. He is a craftsman who studies, investigates, and fixes ideas before putting his eye on the viewfinder.
It is about talking about what surrounds him, making the observer think, engaging in a dialogue with him, and showing him certain habits and behaviors of human beings through his images. He does not take photos, but X-rays.
Today, José Luis de la Parra makes time in his busy schedule and talks to us about his life and work:
Hello José Luis, which photographer, historical or current, would you sit down with to chat while drinking a good wine from Toro?
I would have my first wine with my father. We never had the opportunity to chat about photography when I was already a professional in the sector.
From that first wine, because of what they have meant and influenced my work, with any of the representatives of the Düsseldorf School: Candida Höfer, Andreas Gursky, or Thomas Ruff. I would also have a few reds with Nan Goldin, I am very interested in the subject she addresses and the spaces in which she has developed her work in recent years. And, finally, with Martin Parr. The humor he brings to his photographs, I think, is a bit of a representation of himself. It would be fun.
Photography is something technical and material, but how important is the theoretical in your vision?
It is not that relevant in my commercial work, since it is mainly focused on the documentation of exhibitions, reproduction of works of art, and monitoring of lighting processes in unique buildings, architecture, and interior design. In these cases, it is more of a question of planning. However, in my personal projects, which focus primarily on the leisure society and in which I take spaces, habits, and behaviors as a reference, the theoretic is of vital importance. All my work in this area is based on a theoretical basis that allows me to justify why I am doing that. And once the photographic work is finished, I return to that theoretical basis, shaping the final text that justifies the series.
What is your favorite hobby outside of work?
I am very interested in contemporary art, cinema, traveling, and playing with cooking. I also play several sports: tennis, paddle tennis, and yoga... and I love walking through the fields of Toro, my town. For me, it is absolutely necessary to put work aside and focus on other matters that also contribute many other things to my day to day.
You have had work exhibited in Argentina, Venice, London, Paris, Shanghai, New York... What is the furthest place you have traveled to for work and where you have been most comfortable?
I traveled to Egypt to reproduce the work of a deceased Egyptian artist. When I have traveled to carry out a commission or develop a personal project, I have almost always felt very comfortable. I try to find and enjoy the particularities of each trip. I would mention two that I remember with special affection: one to Berlin, to work on my project ‘Hieracómpolis’, and another to Morocco for my series ‘Meeting Point’. On this trip, I was accompanied by some friends and it was truly special.
What photographic ‘smells’ do you remember from when you were a child?
Without a doubt, my father’s laboratory. The smell of celluloid, liquids, and its hypnotizing red light. The mess of the studio and the countless camera models that cohabited there. I still remember those memories and carry them with me today.
Do you think that artistic photography has evolved a lot in the last thirty years?
Yes. The change of support in its transition from analog to digital meant a significant shift in the way of looking and working.
In the field of artistic photography, in recent years there have also been certain changes and trends that had been put aside in time have been recovered. Documentary photography has returned, bursting into the scene with force and generating a new scenario. The way of developing, facing projects, and planning the subsequent exhibition project has also evolved. The way of exhibiting photography has also changed substantially.
What is your favorite spot in Madrid?
Well… some bars in Malasaña district, such as El Rincón, La Palmera, or La Selva, where I have had a great time, but above all, I would say the Casa de Campo. I have it very close to my house and it is the perfect place to relax, play tennis, ride a bike or eat in one of its restaurants. It is the perfect place to get away from the hustle and bustle of the center.
Can you tell us about the Gombau Collection? What is it?
The Gombau Collection is part of the archive of the photographer Venancio Gombau, who developed his career in Salamanca from 1905 onwards, being one of the most relevant photographers of the time. My family and I own part of this collection, made up of hundreds of gelatin bromide glass plates (negatives). They contain records of people from the time, a unique collection of charro suits, or an unpublished series of photographs of the Casa Lis in its original state, among other themes. Gombau was undoubtedly one of the masters of portraiture of his time. The other part of this archive belongs to the Gombau family and the Filmoteca de Salamanca.
Have you had any mentor in your career who left an indelible professional mark on you?
Throughout my training, I have been lucky enough to meet teachers and professionals who have contributed a lot to me and have helped me go a little further. I would mention Rosa Muñoz, the first person who brought me closer to the world of professional photography, as I was her assistant for the El Mundo Magazine. As for creative influence, I will mention Hilla and Bernd Becher, creators of the German school whose way and method of work have influenced my way of looking and working.
Our previous protagonist, Félix de Martín, asked this question: How do current events influence your work?
In the commercial field, photography has suffered quite a bit. The false belief that anyone can take good photographs just by having a good device has created a scenario of “anything goes”, but this is far from reality. Clients who value the image of their company and what a professional contributes have no doubts about which way to go. I am lucky to work with sensitive and loyal clients who know how to value and appreciate the work that is done. In my personal projects, the panorama has also changed a lot. The type of projects that were done years ago no longer have a place in this new scenario. The way of facing a project, the way of developing and executing it has changed substantially. In my case, my work focuses on the leisure society and in this already saturated sector, changes and new challenges are constant.
A creative is a craftsman of his own. He needs passion, detail, thoroughness, quality... What is your opinion of Artificial Intelligence in photography? Does it contribute things to you or does it compete with you?
I understand that it is here to stay. It has arrived with force, with its pros and cons. Personally, I am not interested in it at the moment. It does not bring me anything at all and fortunately, due to the type of work I do, it does not compete with me. I imagine that in fashion and product photography it has had much more impact.
Can you give us a question for the next guest?
Yes, what would you like to do if you didn't do what you do, and why?
