The work of Diego Sagastume (Guatemala, 1991) is characterized by its capacity to present instants in which the spectator can marvel at the world’s aesthetic ability and its interaction with the human being. If during Romanticism that discovery was man’s inability to posses nature, here it is about the conquest of these open spaces for man. Sagastume´s education is the city, not in its magnificence, but in those small details that communicate how immense and ephemeral is the sky, as in The Wire (Chance Event No. 1) (2014) and in Untitled (2013); or how marvelous is tracking the light in Moving Circle (2015), videos that are constantly repeated, quasi hypnotic movements in an endless presentation, moving images, as they used to call them at the beginning of cinema. Both videos The Wire (Chance Event No. 1) (2014) and Untitled (2013) give the impression of a static image, of the lack of action that reflects a beginning and an end; however, in their presentation they seem unending.
The handling of colors is visible in a series of photographs that seem to be floating in space; however, their materiality lies in a process called UV print on Dibond, which is the direct printing on a metal plate made in Germany that allows the achievement of the fadings and colors of light’s reflection on metallic surfaces, reminding us of Turner’s or Constable’s skies, in the manner of the conquest of landscape as a pictorial genre par excellence, not only as a complement to grand narratives. By calling the photographs “Sin título” (Untitled), the artist opens to the imagination their realistic aspects, and as they play with the fluidity of liquids and their spread in the streets, as well as the roughness of sidewalks, they show a direct relation with Oil (2014) and “Sin título” (Espuma) (2013) [Untitled (Foam), 2013].
Finally, in two more open landscapes, he shows us a construction play, as well as the artistic bonds that are created between the environment and time. In the case of Bus Station (2015) we see the moment that captures the remodeling of a bus station located in the middle of a busy street, and the airborne plastic that swells as the wind passes through. While in “Sin Título” (2013) [Untitled, 2013] the red antenna element contrasts with the gray rooftop on an overcast day, the cages’s organization creates an endless vanishing point in the composition’s center—a kind of time machine.
As the outdoors become his studio, the way of capturing those beautiful or sublime moments is achieved through tools offered by modern technology: his mobile´s camera, and sometimes, when the image’s calling is continuous, a Reflex. Sagastume walks contemplating all possibilities offered by the little moments between light and the right time of day to invite us to an enhanced contemplation of that which we miss in the midst of our hectic everyday life.