Madrid / España
Spanga / Sweden
+46 8 703172710
Spain. Portugal. France
Sweden. Denmark. Finland. Iceland. Norway
Houston / TX
+00 1936 4395839
Guillermo Asián / Bio
I worked as a lighting technician and set decorator for the RTVE, the Spanish public TV service, between 1976 and 1977.
In 1980 I began to undertake work for CAMBIO 16, and I later had work published in DUNIA, TELVA, VOGUE, COSMOPOLITAN, ELLE, INTERVIU, JOYCE and many other
magazines and newspapers.
My work has received awards such as the LUX ORO 2002, awarded by the ASOCIACIÓN DE FOTÓGRAFOS PROFESIONALES DE ESPAÑA (Professional Photographers’ Association of Spain).
That same year, a description of my career was included in the "DICCIONARIO ESPASA DE LA FOTOGRAFÍA" (Espasa Dictionary of Photography), published by Espasa Calpe SA.
In the twenty years between 1978 and 1998, I had reportages published in ARTE FOTOGRÁFICO, PHOTO, NUEVA LENTE, MADRID ME MATA, LA LUNA, and ZOOM and I took photographs for PEDRO DEL HIERRO, KIMA GUITAR, EL PAÍS, BMW, CITROËN, LOEWE, TABACALERA ESPAÑOLA, TELEFÓNICA DE ESPAÑA, GRUPO ZETA, G+J, GLOBUS and many other clients.
From 2003 onwards, I gradually left commercial work behind in order move into a world that had been unknown to me up to that point, that of “auteur photography”. As a result of this, I had a solo exhibition at the Zulia Museum in Venezuela and also at the Kursaal Conference Hall in San Sebastián.
Since 1998, I have devoted a lot of energy to recovering the essence of the photographs that, with the boyish ingenuity and freshness that I had way back in 1971, I used to treasure and feel great curiosity for when I started out in this fascinating activity. My teaching activity in the form of the photography workshops and courses started in 2002 and has been growing ever since.
Fernando Martín Zuriaga
The truth, as such, is probably the most abstract concept there is. There are as many truths as there are none. The street is full of little paper handkerchiefs in which more than one tear can be found. Solitude shines with its head down. Outside of the photographic studio, there is an asphalt catwalk on which life and death are on display. An unrepeatable moment just hangs there, paralysed.
Technique as a vehicle for aesthetics. Aesthetics as a reflection. To know how to look beyond what the eye can see and to let the scene speak for itself. To capture it. That is the filter which turns banal reality into a piece of life. That is when subjective fantasy imposes itself and becomes believable. And that is the only reality which interests me.
I must, therefore, thank Guillermo for having awoken in me and in many others a much more interesting way of seeing, and of having given me so many moments filled with real poetry. The way of being is something more than just being, as the way of seeing is something more than reality. It is the way, the form, and not matter that defines the message and creates discourse. Guillermo Asián’s work is open to searching, to the free interpretation by all. Let us all take our own risks and let no-one expect any explanation other than their own. As Oscar Wilde said, “it is the spectator, and not life, that art really mirrors.”