A Bolivian master of images suspended in time
Born in Aiquile, Cochabamba (1958) and based in Vienna for over 25 years, Francisco Claure Ibarra has developed a deeply personal body of work that merges documentary aesthetics with a unique handcrafted technique. By using natural materials as photographic bases, his images take on a tangible, expressive, and unrepeatable quality.
Artisanal technique as an aesthetic and cultural statement
For Claure Ibarra, photography is not just a tool to document reality—it is a form of cultural resistance. In a time where images are increasingly instant, disposable, and filtered, his “handmade photography” offers a radical alternative: slow, intentional, and profoundly human.
“There are other dimensions of time in the art of photography,” the artist reflects.
His images, often infused with Andean symbolism, might be mistaken for photographs from the 19th century—if not for subtle modern elements. This temporal ambiguity is intentional: his work exists in a space between past and present, beyond digital immediacy.
Landscape, identity, and beauty through a Bolivian lens
Claure’s photographs portray not just the Andean landscape but also the human face of Bolivia—dancers, musicians, farmers, and children—depicted with a dignity and aesthetic that transcend folklorization. His work stands as a visual manifesto that emphasizes the cultural value of analog photography.
Beyond photography, Claure also creates sculptural pieces—which he calls “SkuLLptures”—that explore visual and ritual dimensions in dialogue with his images.
International recognition and exhibitions
Claure’s work has been featured at institutions such as the Cervantes Institute in Vienna and highlighted by cultural platforms like Culturalatina.at, which celebrate his ability to bridge contemporary art and collective memory.
The physicality of his prints, the patina of his colors, and the ceremonial composition of his portraits invite viewers to slow down and truly see.
Beyond the pixel: a visual poetics of resistance
While Claure does not oppose digital photography per se, he questions its aesthetic dominance. His practice offers an alternative: a tactile, handmade, and contemplative form of image-making, built with time, vision, and skill.
His photographs remind us that art does not need to be compatible, reproducible, or instantaneous to be powerful—or true.
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