The contemplation of nature is to manifest the desire to dissolve, to dissolve in the environment, to return to the origin where all the elements that make up the world coexist in the same ontological degree: the human being, the rivers, the animals, the plants, the air and the rain without distinctions or hierarchies. Contemplation calls for a self-emptying, a distancing from the self in order to be us, the world. 

Throughout history, the human being has sought to withdraw and take refuge in nature alone in order to enlighten or find itself. This return to the root of the foundation of who we are as human beings is more and more constant given the conditions of life in contemporary societies. Human beings increasingly seek this lightness, this emptying of superfluous needs, to connect again with God, with nature, to seek the religious ecstasy of knowing oneself to be part of something universal beyond one’s immediate social environment, real or virtual. In this society where time is a primordial factor in everyday life, sitting for a few minutes to contemplate a landscape, a sunset, a sunrise, etc., is an act of rebellion, becoming “unproductive” becomes a stoic act.

Photography was born as the great medium that freed painting from its historical and narrative character. Photography was able to contain time and space from different perspectives: personal, documentary, educational, cultural, etc. Its immanence allows us to return to this context, to that look, to that way of looking at the world and to what we were at the moment we pressed the button of the camera; it is not only the passage of light printed on paper, but also the record of the being that is gone or that continues to be present, of what we were and of what we continue to be to a greater or lesser extent. 

Technology has allowed photography to become something immediate, at hand, available at any time and at any hour. The times when photography was kept for a transcendental event and to make it last were left behind, buried by the overwhelming technology that allows anyone to become a photographer instantly and without the need for special technical processes. 

In “Image, in pursuit of the sublime”, Volume I, Mylene Zozaya presents us through her instant photographs the way to reach the absolute image, but this absolute is not technical or decorative, it is the absolute of those who have taken the path of opening their hearts to nature and melting into the landscape, the landscape that is one and all landscapes at the same time. The artist who builds her work bearing in mind that the whole can be represented in a single image and that a single image can represent the whole has entered the path of the absolute.

The artist who has decided to empty itself in its work, seeks in contemplation to detach itself, to abandon itself. Mylene Zozaya distances to no longer be herself, but a landscape and to enter into communion with the creative energy of the universe. In her photographs we find this mimesis with the divine, with the energy behind every natural phenomenon, the sea, the waves, mountains, clouds, sunbeams.

The eye of the artist becomes the eye of one who has opened her heart to nature, to the landscape and to the ecstasy that this sacrament with nature generates, just like nature in ancient societies was not only the model that shaped countless art works but it was also the expression of the perfect absolute of the incorruptible universe.