I am so seriously back.... y-2022




After almost 4 years pause, I´ve decided to get back to my life vision and to my glass made pencils as an artist photographer. After my graduation as a formal photographer from Viborg Media College in 2017 and after several national exhibitions and recognitions for my artworks dogma in-a-rush 2015, I was hired as a Photo-Art Director with responsibility for all commercial photography at the award winning Danish advertising agency SuperEgo.nu


Several years working with commercial photography and other startups within fast food (yes its true, I was so badly missing my mexican street food that I managed to fundraise 1 million for a taco chain during 2019-2022) finally my love to photography brought me back to the fact that I am missing so much my dogma in-a-rush and that is why I am so seriously back in Y-2022.


My comeback exhibition will be presented at the beautiful culture house in Bjerringbro City

The "Gudenå KulturHus in Bjerringbro from the 6th to the 27 of July 2022".

The address is:

Gudenåhuset Kulturhus Bjerringbro

Realskolevej 12,

8850 Bjerringbro

Maps https://goo.gl/maps/D4MWohPMXVM54jJe9



I am very much looking forward for presenting old art works as well as new ones from Denmark & New York

My very good friend and very clever multi artist Mogens Wagner Cuber has made some beautiful thoughts which I thank so much and share here:

About Dogma in-a-rush intro by Mogens Wagner Cuber- Multi-artist


The Mexican-born, Danish-living photographer, Juan DeDios, breaks the framework within art photography, his project is called Dogma in-A-rush from 2015



Some of his works have been named an international 2nd place at the Danish Museum of Photography's Censored Photo Exhibition To the Edge in 2016.


Based on a single recording of the motif, he interprets the essential challenge of modern man in an innovative way. The glimpse of everyday life, the reality we are in. As if the pictures were taken in a high-speed train, he raises with his pictures, the question of what do I really see, if I do at all? Juan DeDios dwells on the snapshot, leaving it untouched. There is no use of digital manipulations here.










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