Martinalopezphoto.com

Martinalopezphoto.com is hosted in United States / New York . Martinalopezphoto.com doesn't use HTTPS protocol. Number of used technologies: 5. First technologies: CSS, Html, Javascript, Number of used javascripts: 1. First javascripts: MpAofawT_iKwhNF...Mg6QJMJ.js, Number of used analytics tools: 0. Its server type is: Microsoft-IIS/7.5. Its CMS is: Squarespace.

Technologies in use by Martinalopezphoto.com

Technology

Number of occurences: 5

CSS
Html
Javascript
Lightbox
Php

Javascripts

Number of occurences: 1

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Content Management System

Number of occurences: 1

Squarespace

Server Type

Microsoft-IIS/7.5

Powered by

ASP.NET

Conversion rate optimization
Clickable call number	Not founded!
Conversion form (contact form, subcriber)	Not founded!
Clickable email	Not founded!
CTA (call to action) button	Founded!
List	Founded!
Image	Not founded!
Enhancement	Not founded!
Responsive website	Founded!
Facebook sharing	Not founded!
Google+ sharing	Not founded!
Twitter sharing	Not founded!
Linkedin sharing	Not founded!
Blog on the webiste	Not founded!

HTTPS (SSL) - Martinalopezphoto.com

Missing HTTPS protocol.

Meta - Martinalopezphoto.com

Number of occurences: 7

Name: viewport
Content: width=device-width
Name:
Content: As I watch my aging mother slip away unable to recall something that happened just moments before, I can clearly see the confusion in her eyes. In reflections of my own aging image, I canâ€™t help but see my motherâ€™s genetic influence. Ultimately, I fear that I, too, will be unable to remember my own existence. In these found 19th century portraits, I see a glimpse of myself. These once living individuals are now lost and forgotten. The images in this series have been manipulated to include the hair or eyes of my own genetic family members, as well as the imposed imperfections left by time. The juxtaposition of these contemporary elements heightens the rigidness of the original portraits. The images appear to be fleeting yet they are grounded and illogical. For years, I have been intrigued in the conceptual paradox of â€œthe digital one of a kind.â€ The images influenced by the antiquated 19th century photographic processes are tarnished, aged and imperfect. While the constructed images first appear to be that of passing moments, the waxed encaustic technique makes a futile attempt to preserve and halt the progression of time. Once covered in wax the prints become transparent and ethereal while heightening the sense of the print as an object. The prints are attached to the wall only by steel corners allowing ambient light to illuminate the images from behind. This installation forces the viewer to question the reality of what they see and, perhaps, consider the fragile illusion of memory. As I watch my aging mother slip away unable to recall something that happened just moments before, I can clearly see the confusion in her eyes. In reflections of my own aging image, I canâ€™t help but see my motherâ€™s genetic influence. Ultimately, I fear that I, too, will be unable to remember my own existence. In these found 19th century portraits, I see a glimpse of myself. These once living individuals are now lost and forgotten. The images in this series have been manipulated to include the hair or eyes of my own genetic family members, as well as the imposed imperfections left by time. The juxtaposition of these contemporary elements heightens the rigidness of the original portraits. The images appear to be fleeting yet they are grounded and illogical. For years, I have been intrigued in the conceptual paradox of â€œthe digital one of a kind.â€ The images influenced by the antiquated 19th century photographic processes are tarnished, aged and imperfect. While the constructed images first appear to be that of passing moments, the waxed encaustic technique makes a futile attempt to preserve and halt the progression of time. Once covered in wax the prints become transparent and ethereal while heightening the sense of the print as an object. The prints are attached to the wall only by steel corners allowing ambient light to illuminate the images from behind. This installation forces the viewer to question the reality of what they see and, perhaps, consider the fragile illusion of memory. Â
Name: twitter:title
Content: Between Reason
Name: twitter:url
Content: http://www.martinalopezphoto.com/
Name: twitter:card
Content: summary
Name: twitter:description
Content: As I watch my aging mother slip away unable to recall something that happened just moments before, I can clearly see the confusion in her eyes. In reflections of my own aging image, I canâ€™t help but see my motherâ€™s genetic influence. Ultimately, I fear that I, too, will be unable to remember my own existence. In these found 19th century portraits, I see a glimpse of myself. These once living individuals are now lost and forgotten. The images in this series have been manipulated to include the hair or eyes of my own genetic family members, as well as the imposed imperfections left by time. The juxtaposition of these contemporary elements heightens the rigidness of the original portraits. The images appear to be fleeting yet they are grounded and illogical. For years, I have been intrigued in the conceptual paradox of â€œthe digital one of a kind.â€ The images influenced by the antiquated 19th century photographic processes are tarnished, aged and imperfect. While the constructed images first appear to be that of passing moments, the waxed encaustic technique makes a futile attempt to preserve and halt the progression of time. Once covered in wax the prints become transparent and ethereal while heightening the sense of the print as an object. The prints are attached to the wall only by steel corners allowing ambient light to illuminate the images from behind. This installation forces the viewer to question the reality of what they see and, perhaps, consider the fragile illusion of memory. As I watch my aging mother slip away unable to recall something that happened just moments before, I can clearly see the confusion in her eyes. In reflections of my own aging image, I canâ€™t help but see my motherâ€™s genetic influence. Ultimately, I fear that I, too, will be unable to remember my own existence. In these found 19th century portraits, I see a glimpse of myself. These once living individuals are now lost and forgotten. The images in this series have been manipulated to include the hair or eyes of my own genetic family members, as well as the imposed imperfections left by time. The juxtaposition of these contemporary elements heightens the rigidness of the original portraits. The images appear to be fleeting yet they are grounded and illogical. For years, I have been intrigued in the conceptual paradox of â€œthe digital one of a kind.â€ The images influenced by the antiquated 19th century photographic processes are tarnished, aged and imperfect. While the constructed images first appear to be that of passing moments, the waxed encaustic technique makes a futile attempt to preserve and halt the progression of time. Once covered in wax the prints become transparent and ethereal while heightening the sense of the print as an object. The prints are attached to the wall only by steel corners allowing ambient light to illuminate the images from behind. This installation forces the viewer to question the reality of what they see and, perhaps, consider the fragile illusion of memory. Â
Name: description
Content: Martina Lopez Photography

Server / Hosting

IP: 198.185.159.144
Latitude: 40.72
Longitude: -74.01
Country: United States
City: New York

Rname

ns37.domaincontrol.com
ns38.domaincontrol.com
smtp.secureserver.net
mailstore1.secureserver.net

Target

dns.jomax.net

HTTP Header Response

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