Gasparini’s photographic project composes a visual anthropology of Latin American modernity, where architecture, typography, and the itinerant body collide as palimpsests of ideology. Operating between documentary acuity and poetic montage, his work maps the semiotics of the street—billboards, slogans, façades—into sequences that read as urban scores of desire and dissent.
Resisting exoticism, he constructs dialectical narratives where the past and the present coexist. In his Guajira photographs (1960–1983), the desert becomes not a backdrop but an active agent—an ecological and geopolitical surface shaped by trade winds, migration, and colonial residues. Gasparini’s “militant optics” insists on reciprocity between seeing and inhabiting: the camera not as voyeur but as participant. The result is a lucid, unsentimental grammar of image-time, articulating the Americas as a space of perpetual conflict, vitality, and redefinition.
