David Jiménez’s 2000 photobook Infinito [Infinity] has garnered increasing appreciation in light of growing intereste in the recent history of the photobook in Spain.  Indeed, Infinito serves as an example in Martin Parr and Gerry Badger’s text The Photobook: A history.

The author proposes a decidedly open view on a plural reality through a succession of images that are fragmentary in nature. In this vision, the mundane and the exotic, the crude concretion of reality, and the uncertain figuration of dreams coexist. The book comprises a series of successive diptychs that function as a set of dialogues between the juxtaposed images within a physical continuity that accentuates aspects of confrontation and resemblance. This syntax, which is simultaneously dual and serial, generates a semantic opening of the images and establishes a series of formal pathways and equivalences between elements that initially appear to be dissimilar.

In Infinito n.º 29 [Infinity nº 29] some of the characteristic traits of Jimenez’s work become manifest, namely his use of black and white and his appreciation for the warmth of the grain. Theses features combine to generate images that contain the sensorial strength of a material presence and show the expressive value of chiaroscuro. In this photograph the author evokes qualities that are initially unfitting for sculpture, like an apparent vulnerability of stone that has been sensitized and imbues the figure with a bizarre life of its own; the life of an anonymous character stranded in a timeless dream.