The creative DNA of Blackworks
What sets Blackworks apart from other projects, he says, is its visceral nature.
“Here, everything is more visceral. At other international events, things are often very controlled, very polished, even a bit too clean. At Blackworks, the intensity is different: in the people, in the lighting. There’s a creative freedom you don’t always find elsewhere, and that allows me to go free and let my- self be carried by what happens in the moment.”
From that freedom came images that are now iconic.
“The intensity you can capture in the crowd, people forgetting their phones and just living the music. Nowadays it’s rare to see an event that isn’t full of screens.”
A reminder that here, the experience isn’t watched, it’s lived.
The visual history of Blackworks is also the history of its community. Joel, Ru- bén, and Guille didn’t just accompany the project’s growth, they made it vi- sible, tangible, and recognizable. They turned the rawness of sound into ima- ges capable of lasting long after the final track fades.
Here, the visual isn’t decoration: it’s a code. Symbols that travel, memo- ries tattooed into skin, moments that transcend the archive to become sha- red identity.
What Blackworks has built in six years is only the beginning of an expanding cultural archive. A narrative that will keep adding chapters and that, like each of its events, promises more than anyone would dare to anticipate. In the end, maybe Blackworks’ aesthetic isn’t meant to be explained, only to leave scars on one’s memory.
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