As a traveler artist of the 21st Century, Reinaldo Cid has arrived to each and every one of those sites full of history with a precise objective: to register, with his photographic lens, the impassive existence of a singular artifact, which everyone supposes, but which only few people have the possibility of seeing. And it happens that the bell marks its territory and makes its presence being noticed through the expansion of a signal in the space, like if it were an acoustic pheromone.
Several of Reinaldo’s documented bells count with centuries of existence. They have been witnesses of time; from their space immobilization, they have gone all through history; from the top of a tower, they have added music to the growth of cities, the slow transformation of society, and have come to our days as almost ghostly presences, as residual communication forms. Therefore, those bells are sediments of culture. They are the image of time; they are symbols that mobilize all human history on Earth, over which their expansive sound has reigned.
A spectral whisper goes around this series. Reinaldo has managed to express time condensed in the material nature of the bells and the architectural spaces. He has been able to embody, in a photographic image, another dimension of reality: the dimension in which the incorporeal exists, as well as the imaginary marks of what has happened, the accumulated absences, the sedimented spirits, and the mobilizing energy. He has been able to encourage what cannot be told, what can only emerge when the folding of poetry are opened.
In the process, visual effects that are not controlled by the artists appear, providing each picture with a unique appearance. As a result, each image, by nurturing from blood, acquires an unrepeatable contrast and color. Where there was explicit reference, there can be diffuse visual information now. Where there was a realistic atmosphere, there is now one invaded by configurations, ghostly stains, light explosions, sui generis coagulations of color…