16 mm, b& w and color, silent, 6′ (2004-2006)

In Picadero, extreme close-ups of sand, hands, horse manes, fur and legs follow each other in a constant circular motion. The camera follows the trainer and his horse, seemingly right in-between their bodies. During this follow-up, horse and trainer are transfigured in the image of a mixed machine, mobile and fragmented, permanently functioning. The black and white film turns the image into an abstract vision, too close, improbable by proximity. The impacts on the sand materially scratch and mark the surface of the film in the moment of its silent execution. The realization of Picadero is contemporary to Pentimenti, but even if the horse in motion is central to both, the filmic device transforms the horse issue into a reflection on motion from the inside, from within the trainer/trainee relationship. Even if in Pentimenti the pictorial axis is built from the installation of the camera as an imitation of the easel and the borders of the painting, in Picadero, the moving camera does not install the limits of the image, but displaces them in permanence, without really knowing where to.