Concept
Due to his ancestry and pictorial training, in his work he tries to unify pictorial resources such as glaze, texture, chiaroscuro with photography and the technical means to develop it, creating a work that integrates these resources to define his personal plastic discourse. , combining the plasticity of painting with the photographic technique.
Use photography as a means of plastic expression, avoiding the concept conventional and documentary of the same, to seek a visual abstraction of the photographed element, the use of macros and frames that express an abstract concept.
He has wanted to dialogue, in parallel, both with the referential meaning and with the signifier, loaded with strong plasticity, in all cases, of each of the works. Making, if possible, more emphasis, consciously, on the second objective indicated than on the first. As always, in his photographic works, direct experimentation has continued, even now, to the surface, expressly relating some images to others. Theirs are strategically never islands.
Its purpose, when capturing the images, is to always trace a connection point with other images, so that there is an interaction between them, looking for an internal continuity / contrast in the lines, shapes, textures and / or images. composition structures, postulating that they are not independent images, joined without more, but that there is a true dialogue between all of them.
Rather, it seeks the empowerment of a certain subjectivity projected onto the world around us. Along these lines, he postulates an inner vision, subjectively describing emotions, looking for the underlying substratum, under the apparent reality. Quoting Kasimir Edschmid, he would affirm that: "The world is there and it would be absurd to reproduce it as it is."
In fact, in his long professional career, thanks to persistent photographic research, he has managed to harmonize - based on his usual technical and aesthetic resources - the visual impact with the poetic charge, the strength of the expression and / or the possible weight coexisting dramatic image, usually charged with strong contrasts. But always looking, if possible, for expressiveness, to the maximum.
To do this, he has promoted, in parallel, a whole series of diversified halos of indeterminacy, games of light and shadow, suggestions, counterpoints and mystery, resulting in patterns, which, by the way, generally invade most of the compositions. of the always updated Salva Nebot itinerary.
Above all, it has succeeded - let us reiterate, opportunely - thanks to the studied strategies of the genuine power of shadows and their associated light contrasts. In this way, the most enhanced means, in their investigative work, have been chromatic asceticism, the constant implementation of the textures of their supports, narrative fragmentation and the preponderance of expressive games.
