Anna Malagrida moved to Paris in the year 2000, a period during which she began her work on Interiores [Interiors]. This series included two parts: the first comprising a number of indoor photographs of the artist’s friends and family; the second, a collection of photographs of a building whose windows provide a view of the daily lives of people who live within the apartments. Although the series of portraits were taken with the consent and complicity of those being portrayed, they reflect on the intrusion perpetrated against the private space.

As occurs in Telespectadores [Television Viewers], these portraits contain meticulously constructed scenes in which the protagonists are illuminated by a television or computer screen, generating a powerful contrast. The poetic use of light, the figures’ lost gazes, and their isolation highlight a sense of loneliness and the paradox that lies within the notion of the household as a place of safety, but also reclusion, something that can be observed in Untitled (Ari y Gino). The windows are key elements in the series serving literally and figuratively as transitional spaces between the interior and exterior.