ADRIANA GUIMAN

Visual storyteller & content strategist 

I like embracing the overwhelming realities, and maybe this is why I like the documentary style, both in film and photography. The camera becomes a brush, a trustful and honest one, catching glimpses of sincere life, and even if I use predetermined narrative structures for packaging and delivering the movie to the public, I hope and work towards the liberation of narrative form.

I love connecting layers of reality discovered through light and color with the characters and their stories and the spaces they inhabit physically and culturally and I spoil myself using a film camera for taking photos. Documentary elements bring force to the narrative, in my opinion, and I liked playing with this idea ever since my graduation short film, “Hat of Stars”. I appreciate subtitle irony, sarcasm, and their use in art, believing that serious themes can be approached in a digestible manner when such tools are used and I followed this idea in the experimental short film “Therapy of Happiness” mocking both the promise of happiness advertised by self-help books and the fear of commitment in a relationship.

Movies that are on the border of theater and film, that emphasize the relationship between actors and audience and that explore locations in the best possible ways are one of my favorites, together with absurd settings and narratives. I appreciate collaborative projects where multiple artistic visions are used for approaching the same theme or subject, especially if they are related to current social issues. I’m on a journey of discovering myself as an artist, grateful for every opportunity and experience both in traditional and new mediums. I’m constantly wondering and researching how technology can surpass interactivity and allow participation further than a one-to-one experience, but rather at a social and cultural level. I’m particularly interested in virtual reality, this environment that transforms the screens in one surrounding experience, and especially in the translation of classical film language into cinematic virtual reality experiences.

Many times, I’m woken up by this beautiful promise of an environment without rules, similar to a utopia of endless creative opportunities by the technical challenges of XR. I often find myself in the middle of a crossroads, generated mainly by economic factors, by the way, the media industry is financed, a crossroad with three main options: working alone on projects that solely express my creative ideas, working on projects that have some degree of social impact or producing media for purely commercial purposes.

The only thing I learn so far is that everything should be measured with a personalized unit.