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Carmen Ramon Camí
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"I do not document the world; I invent it instead."
Carmen Ramon Camí, who works under the name Camí, is a conceptual and surrealist fine art photographer based in Barcelona, Spain. A graduate in Art History from the Universidad Autonoma de Barcelona, she brings the eye of a scholar to a practice grounded in invention rather than documentation. She works primarily in large format, building images that carry a strong symbolic weight while receiving meticulous technical care at every stage, from the initial capture through to the final print on fine art paper. Her work moves deliberately between tradition and the contemporary, treating both not as opposites to choose between but as complementary attitudes toward the act of artistic creation.
VANITAS | Color Photography
$500
60 X 70
It reflects the passage of time and the pain. The loss of a loved one.
At the center of her photography lies a single question that never quite arrives at a final answer: what lies behind what we see? She has no interest in recording the world exactly as it appears, preferring instead to construct scenes that reveal the hidden layers of human experience, among them desire, time, fragility, and the tension between what is concealed and what is pursued. This questioning impulse gives her images their peculiar charge, an atmosphere of something withheld. Each photograph becomes less a record of a moment than an invitation to look past the surface toward whatever might be quietly waiting underneath it.
COSMOS | Color Photography
$500
70 X 60
The beginning of life. Water, clones, and time.
"Since adolescence, the camera has been how I see life."
Her fascination with the camera reaches back to adolescence, drawn from the very start to the immediacy of the instrument and its power to fix a vision of reality and life. That early attraction has since matured into a sophisticated conceptual practice, though the original wonder remains intact within it. She draws inspiration freely from photographers and artists of the past and present, among them Gerda Taro, Robert Capa, Brassaï, Saul Leiter, Cartier-Bresson, Dora Maar, Lee Miller, and Salvador Dalí, a lineage that spans documentary immediacy and surrealist invention. From these currents she has fashioned an approach that treats the image not as a window onto the world but as an open space for pure invention.
NEW YORK SURREAL #1 | Color Photography
$400
70 X 60
City of New York. An abstract concept of the city.
Each of her photographs begins with an idea that demands to be materialized, whether a body, a landscape, or an object charged with symbolic meaning. She arranges these elements with the same deliberate intention a painter brings to composing a canvas, thinking in terms of balance, weight, and significance rather than documentary accuracy. For Camí, photography is something closer to sculpture, an art made of light and of arrested time. This sculptural understanding runs through everything she produces, and it explains why her images feel constructed and considered, built with patience toward a specific vision rather than captured by chance in a fleeting instant.
City of New York. An abstract concept of the city. Double exposure, two images.
NEW YORK SURREAL #2 | Color Photography
$500
70 X 60
"A single photograph is sculpture made of light and arrested time, an idea materialized with the very intention a painter brings to composing a canvas."
"With Artemis I am hunting images the way the goddess hunts, pursuing something elusive and precious that reveals itself only by half, like moonlight moving across a body, and I photograph it before it disappears, drawing on the old vanitas painters and their meditation on how quickly beauty and life slip away from us."
NEW YORK SURREAL #3 | Color Photography
$500
70 X 60
City of New York. An abstract concept of the city. Double exposure, two images.
Her decision to work in large format is never a casual aesthetic preference but a core part of the meaning itself. When an image is printed at sixty by seventy centimetres, it demands an entirely different kind of presence from the viewer, no longer something merely glanced at in passing but something to be entered and inhabited. She wants her photographs to be experienced with the whole body, so that the texture of the paper and the smallest visible detail carry as much of the message as the overall composition does. Scale, in her hands, becomes a way of turning private thought into shared physical encounter.
SPIDER | Black & White Photography
$400
70 X 60
Nightmare. Double exposure, two images.
Her working process combines rigorous, deliberate preparation with a conscious openness to chance. She plans the light, the staging, the wardrobe or its pointed absence, and the symbolic objects with great care, yet she always leaves a margin open for the unforeseen to enter and reshape the outcome. Sometimes she works in collaboration with her brother Ferran, who carries out the retouching of her images, extending the process beyond her own hands. Throughout, she photographs while already imagining the printed result, anticipating how the color will behave and how the paper will absorb the deepest blacks long before the image exists.
City of Vienna at night. An abstract concept of the city. Double exposure, two images.
CYBERPUNK NIGHT #1 | Color Photography
$400
70 X 60
She is currently developing Artemis, a long-term photographic project that takes its name from the huntress goddess, protector of wild things and of moonlight, that indirect and changeable light which reveals the world only by half. The title operates on several levels at once. On one hand it points literally to the photographic act as a form of hunting, of going out to pursue an image that exists for only an instant and must be seized before it vanishes. On the other, it gestures toward everything veiled, toward what shows and hides itself simultaneously, as moonlight does across a body or a darkened landscape.
"A large print is not glanced at; it is inhabited."
Within Artemis she draws on a wide arc of references, reaching from the vanitas painters and their meditations on the fleeting nature of life and beauty toward a very contemporary experimentation with concept and color. This blend is deliberate, a way of bringing new dimensions to old forms while breaking inherited norms and easy certainties. She likens the spirit of the work to children's games, to the making of fantasies, yet these fantasies are shaped by distinctly adult reflections on our existence, both personal and collective. The result holds innocence and gravity together, playfulness and seriousness woven into the same carefully constructed frame.
CYBERPUNK NIGHT #2 | Color Photography
$400
70 X 60
City of Berlin at night. An abstract concept of the city. Futurist image.
Behind every series lies a visual and symbolic investigation that she deliberately chooses not to close off or resolve completely. She would far rather her images raise questions than supply tidy answers, and she invites each viewer to project their own reading onto the mystery she constructs. This generosity is central to her intent, a refusal to dictate meaning that mirrors her own way of working, since she too pursues an image without ever quite knowing what she will discover at the end of the path. The photograph, for her, remains an open question posed to the person standing before it.
City of Prague at night. An abstract concept of the city. Futurist image.
CYBERPUNK NIGHT #3 | Color Photography
$400
70 X 60
With Artemis, Camí aims to build a coherent body of work capable of engaging seriously with the European pictorial tradition, with vanitas, the classical nude, and the symbolic landscape, all reimagined through a contemporary photographic language. Her ambitions for the project extend toward publication in book form, gathering the images into a lasting and considered whole. Across all of it runs a single guiding purpose, described in her own terms as a way of hunting down human thought and reflection. In the end, her photographs are less objects to be looked at than territories to be explored, questions offered rather than closed.
ROPES | Black & White Photography
$500
70 X 60
Macro image. Ropes and cables.
"I would rather my images open questions than close them."
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