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© quantum blink © isabel m.martinez
© isabel m.martinez
© isabel m.martinez
© isabel m.martinez © isabel m.martinez
© isabel m.martinez
© isabel m.martinez © isabel m.martinez
© isabel m.martinez
© isabel m.martinez © isabel m.martinez
According to quantum mechanics we have forty conscious moments per second, and our brains connect this sequence of nows to create the illusion of the flow of time. So, what would things look like if that itermittence was made visible? This body of work explores that hiccup, that blink, that ubiquitous fissure in the falling-into-place of things.

In my work I attempt to articulate something in between the freezing of time—that so often characterizes photography—and its relentless passing. I hint towards temporalities that are fluid, speculative, and somewhat loose. I am looking for the line that divides the finite (probability) from the infinite (possibility). If time is a succession of instants, I want to see what lies in between them.
I am after the gaps between instants of consciousness.

The photographs in Quantum Blink are composed of two exposures taken instants apart. The striped pattern is the result of masks placed in-camera, this feature allows me to blend two images together and at the same time keep them from fully fusing onto one another. Each photograph holds a brief sense of continuity, almost like an animation, slightly cinematographic. Though they provide a notion of movement and progression, their beginning and end is ambiguous and indistinguishable.

In person, these photo-based works appear to shift and change depending on the distance and the angle from which they are seen; an illusion of volume may become apparent, while other times it may seem as though there are three images at play.

Isabel M. Martínez spent her formative years in Santiago de Chile and holds a BFA from Universidad Católica de Chile. In pursue of a graduate degree she ventured into Canada and earned an MFA from the University of Guelph.

As an artist, she is interested in the phenomenological aspects of human experience. Perception is a recurring theme within her practice, and has become a foundation for her to explore the possibilities and limitations of photography. She approaches the medium as a means of visual transcription for ideas reflecting on the notions of time, space, simultaneity, and duration. Spatio-temporal relations are predominant subjects, thus experimentation and process are at the forefront of much of her work. Non-linear narratives, superpositions and juxtapositions are often employed in the creation of her images.

Isabel has exhibited in galleries and art centres in Chile, England, the U.S., and Canada. Her work has been shown in CONTACT Photography Festival (2011), Magenta’s Flash Forward (2011), Gallery 44 (2008), Canadian Heritage (2005), FotoAmérica Bienal de Fotografía (2004), and featured on Flavor Wire (NY), Designboom (Milan), PMS 485 C (Portugal), Artflakes (Germany), My Modern Met, Vvork (Austria), This Isn’t Happiness, Holy Ghost (UK), File Magazine (NY), Oitzarisme (Romania), Centro Virtual de la Fotografía Chilena, Día Nacional de la Cultura 2011 (Chile), Bank on Art (Toronto), Ojo Zurdo (Chile), and Chilenización de la Fotografía among others. Her artwork is present in various public and private collections. She lives and works in Toronto.   

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