Jose Manuel Lopez Guerrero
Spain, 1964
An emerging documentary and fine-art photographer based in Asturias, Spain. Driven by a deep interest in memory, spatial transformation, and human traces, their work explores the quiet boundaries between history, nature, and everyday life.
CV
Bio
After more of 30 years as a teacher in the Labour University of Gijón (Spain), José Manuel López Guerrero is an emerging documentary and fine-art photographer based in Asturias, Spain. Driven by a deep interest in memory, spatial transformation, and human traces, their work explores the quiet boundaries between history, nature, and everyday life.
Education
Economist. University of Oviedo
Studies and courses in photograpy:
Digital photography. Advanced. UP (Gijón) Oct 2024.
Other photography techniques. UP (Gijón) March2025.
Style in photography. UP (Gijón) Oct 2025.
Nature photography. UP (Gijón) March 2026.
Group Exhibitions
UP Exhibitions (Gijón)
El Reverso. CM La Arena, Gijón, Asturias, Spain. May 2025
El instante retratado. CM El Llano, Gijón, Asturias, Spain. February 2026
Reverdecer.CM La Arena, Gijón, Asturias, Spain. May 2026
Prizes & Awards
Expert Choice awards in Top Photo Awards (2026) for Lifestyle contest.
Expert Choice awards in Top Photo Awards (2026) for Men’s Portrait contest
Top 10 placement in the “Silent Ruins: Abandoned Places” contest (2026).
In 2025, Second Prize in the El Franco Council Photography Contest.
CONCEPTS & MORE
Motion and Stillness
“My work moves between two poles: motion and stillness.
In Bloom in Motion, I use ICM and zoom-burst techniques on flowers — mainly oriental lilies against black backgrounds — to dissolve botanical form into gesture and color. I’m not documenting the flower but its energy: the instant becomes a stroke, and the recognizable gives way to the abstract.
In Perlora: Out of Season I work in the opposite direction: the absolute stillness of an abandoned place. It’s a documentary project on a former post-war Spanish holiday resort, now empty, listed by Docomomo Ibérico and awaiting a rehabilitation plan. I photograph its architecture and objects — a fire extinguisher, a fallen shutter, a golden symmetry of light — as silent witnesses to a time suspended between a utopian past and an uncertain future.
Both series start from the same question: what remains of a moment once you strip away time — whether by accelerating it into abstraction, or stopping it entirely in a place time itself seems to have forgotten.”
