Sergio Larrain and Juana Gómez: A journey to Valparaíso, Chile

 Much of my time over the past 30 years as a collector and dealer of photography has been taken up with the hunt. The prospect of discovering new and interesting subject matter and practices continues to heighten my appetite for seeking out different and unusual work. I never really know what to expect, but when I am onto something I experience the same feeling as when the wheels of a plane leave the ground – great excitement, but also the apprehension of flying into the unknown. I never know who I will meet and whether the journey will bear fruit; such trips sometimes lead to nothing and I return empty handed – but not often as there is always something to be found if you look hard enough.

So it was with some trepidation that I flew out to visit Juana Gomez, an artist I had recently discovered on the web and who lives in Santiago de Chile. We had originally been searching for a Colombian press photographer, also called Gomez, but one of Juana’s pictures had popped up on the screen and I was determined to learn more about her. After viewing more of her extraordinary art online, I decided to fly out to Chile to meet her

Larrain’s book, Valparaiso, was named after the cargo port and naval base which lies on Chile's rugged, hilly coastline, some 75 kilometres north-west of Santiago. It was recognised as a UNESCO World Heritage site in 2003, partially in celebration of the city's remarkable old funiculars (or 'ascensors' as the locals call them.) These funiculars, which are fortunately still in operation, run between Valparaiso's historic Upper and Lower Towns.

Sergio Larrain was born in Santiago de Chile in 1931 and for me, his book Valparaiso perfectly exemplifies the ‘photo-story’, creating a spine-tingling narrative out of pictures. The idea started out as a series for a magazine in 1954, before Larrain returned to the city nine years later to create a full photo essay. Never adopting the same perspective twice, Larrain’s camera eye constructed unusual compositions - pointed upwards, closely shot along walls, closer still to focus on tiny urban details, and, perhaps most successfully, placing his camera at ground level. He used his unusual touch throughout Valparaiso’s narrow, serpentine streets, its dimly lit bars, and its famous stairs; the steep climb up from the sea makes a fascinating backdrop to life in the port.

During the week we spent together, Juana illustrated  the tribal embroidery work of the ancient Mapuche and Chaco tribes who continue to inspire her. She also introduced me to the fantastic museum in Santiago which has a fine and comprehensive collection of these traditional textiles. I have, for some reason, always had an instinctive passion for collecting textiles and I was captivated by the wonderful, subtle natural colours used in the work. 

A trip such as this into the unknown is vital for expanding the gallery horizons in a multitude of ways. I have always found that very little happens if one stays put. I have to get out and about to find new and interesting things and the internet is only a part of that journey. This has been proven to me many times over. The world is full of surprises that one can never predict and I could never have imagined how this journey would have turned out and how it influenced the direction the gallery would head in subsequently. Both artists are now part of our gallery offer and I hope that you will take the opportunity to see Juana Gomez and also Sergio Larrain’s work in person at our gallery.