The photography of Javier Rebollo comes from the need to tell stories, to suggest to the viewer the curiosity to imagine what has happened or may happen in the scene showing.

What news has received the woman on the phone leaning out a window? Does she keeps a friendly chat, or has received a threatening phone call? What connection links the two young people surrounded by several papers? Is it master and pupil in a foreign language class, or are attorney-client discussing something transcendent? What do the man who is looking the sculpture of the spider at the Guggenheim feels, admiration or fear?

Questions. That is the constant in the photographic work of Javier Rebollo: the desire of enquiry and invite the viewer to enter in the scene and positioning on it.


Javier Rebollo knows well the world of cinema- he has directed nine feature films and has produced thirteen, also numerous documentaries and short films- and his photographs frozen fragments of life as if they were movie clips, so that the viewer interprets them freely incorporating them to their own history, happy or tragic ending, and the many possibilities that exist between the two.

Because after any of the Rebollo’s natural landscapes, urban or human, there is a striking uniqueness, a psychological tension that seems to notice that something unexplained is about to happen.

The photograph of Javier Rebollo transforms the real, the daily life, and changes it into a different and strange scenario. It is therefore a realistic picture, but skilfully manipulated by its creator to show mystery and wonder. His pictures seem to say that this is a complex world and often solitary, but there are reasons to expect the unexpected: love, joy, friendship, and sympathy among strangers.


The list of filmmakers who have significant photographic work is extensive and includes names such as Wim Wenders, David Lynch, John Waters, Abbas Kiarostami, Dennis Hopper, Peter Greenaway, Carlos Saura or Bigas Luna, who regularly post their photos in museums and galleries.