The following piece is an active exercise. In it, Goizueta looks back at photographs taken every day at 11:11 and translates them into sketches to later publish through his social media account @archivo1111. In this day to day ritual, he establishes a series of rules that define the outcome, such as the time between the moment he takes these images and the act of return, in which he revisits these moments.
Exactly two years after having taken the photograph, on that very day, Goizueta returns to it to produce a quick sketch. By creating this distance between himself and the moment, he has allowed the image to mature, allowing himself as well to see it through a different lens and project through this new eye other elements that may have not been visible in the original photograph. In this sense, the spontaneity of its mechanical process—the way it is able to capture fleeting moments—becomes only one in many layers of meaning Goizueta seeks to reflect upon. Through sketching, Goizueta emulates the spontaneous nature of the photograph, only to realize that, despite copying what he sees, the memory process has transformed his vision. In this act, his hand runs freely, measuring with its movement the time it has taken to return to another place (to another time), an action that is materialized in the trace you now see. This action can also be understood as one of introspection, in which the artist collects himself to explore the passing of time through his own intimacy.
A year later, the sketch is published on Instagram. This movement from private to the public supposes another transformation regarding the image’s symbolism. Conceived individually, it refers only to a specific moment. However, when viewed as a whole (as they are shown now), it is suddenly possible for the viewer to draw a line connecting all of these moments and observe them as a whole. By making his work public, Goizueta lets go of control, relying on the rules he has given himself to follow as that which defines how much of his intimacy he will reveal. Meanwhile, spectators become voyeurs, looking through the small windows that have been opened before them and recognizing in them pieces of their own day to day, generating a series of echoes.
Through this practice of documenting his everyday, Goizueta has made his life a living archive. This has led to much of his work being absorbed within this one, creating a feedback loop in which other objects appear and can be traced. Such an approach has also allowed him to witness his life through an eagle eye—to see himself through others or through the places he inhabits, and recognize the patterns that result as consequence of a routine or repeated action. In this sense, Archive 1111 is a performative act that is part of the daily life of its author, the rule or constant, the only action that is guaranteed to happen at the same hour, every day.