Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Bunkers and art, a liason between military archeology and artistic expression with a lively recent history, starting from the use of these abandoned fortifications as temporary or permanent exposition spaces.

But not only. Recently Cuban photographer María Martínez-Cañas (1960) realized a series of collages in collaboration with Rafael Domenech, by overlapping watercolor geometries with paper figures and archival pigment prints of bunkers.

In the collages, Martínez-Cañas deconstructs and reconstructs the classic and austere prints of these constructions, setting them free from traditional formal limits and from their grave context, sectioning them on paper like Gordon Matta-Clark did to the bodies of buildings.

Though lacking the symbolic and political implications of the American artist, Martínez-Cañas' work extends our perception of bunkers. A series of obsessive alchemic motifs projects them into mysterious lunar landscapes, transforming them into cyanotypes of extraterrestrial architectures from which to grasp new vital meanings. A kind of visual shock, therapeutic in its way of healing the image of the bunker from the wounds of the past.

Photos via mariamartinez-canas.com

Bunker Series, Maria Martinez-Cana, LTVs, Lancia TrendVisionsMaria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions

Maria Martinez-Cana, Bunker Series, LTVs, Lancia TrendVisions