Today more than ever, we are experiencing a mass consumption of images.

A visual intoxication that represents the crazy multiplication of broom images such as that of Disney Sorcerer's Apprentice.

Douglas Huebler, conceptual artist, once stated: "The world is full of objects, more or less interesting; I do not wish to add any more".

This sentence led me to state the following: "The world is full of photographs and images, more or less interesting; I do not wish to add any more; however, as I cannot live without creating, I will have to add more images by means of recycling the already existing ones. This is almost an adoption of abandoned and forgotten images that nobody wants and that nobody remembers. I take them in, I manipulate them digitally, transform them and create new stories".

Some time ago, I just found a whole lot of very cheap videotapes.

Any poor quality film has that ingredient that I want: a production team; regardless of how small it may seem, there is always a lighting, a team of actors and actresses, localizations, scenes... and, regardless of how bad the script, the plot, the interpreting and the dubbing are, how old and forgotten the film may be, there are always interesting images that draw my attention. It was then when I decided to watch the whole lot to rescue and adopt those images I felt identified with, merging them with my own stored images to create microstories. This was really helpful in my attempt to explore the incomprehensible reality. I am interested in the subjective reality and the individual interpretation; the public is free to work up their own associations in the creation of meanings. I like to merge several narrative plots, the intersection of different realities, unique and strange moments, individual utopias, time and space, a wish of emotion, sensitivity and vulnerability.

At times where superficiality is an endemic disease, I want to show lost emotions.

I believe in the powerful virtue of art that expels everything that is irreverent and uncertain.

I want to captivate the viewer with the beauty of my microstories; however, I am even more interested in their hidden meanings.

Small stories that emerge from a state of neglect with a new life. I felt really excited about this way of working; I thought it was quite comforting. A work that is not very explicit but that arouses the viewer's curiosity, a work that makes the viewer feel uncomfortable forcing the individual to see further.

I did not bring a real exclusive to the world. All images already existed.

I started to investigate this possibility as a way of expression.

Lourdes Carcedo