I started looking at the world through the viewfinder of a photographic camera in 1998. That same year I did a crash course in photography with Luis Nbrega, sponsored by Efran Pintos, both photographers in Santa Cruz de Tenerife, with whom contino learning to write with light. Since then I spend my free time to study photography and capture new insights and approaches to this beautiful and mysterious universe. Comencutilizando a modest Pentax MZ 50, 35-80 and 80-200 also targets of Pentax, AFTER trabajvarios years with a Nikon F80, 70-300 lens and a Nikon F75, target 28-80. Since January 2005 Finepilx use a Fuji 4500 and a Canon PowerShot S20, both digital. Since 2009 I use a Canon EOS D50. EXHIBITIONS: The Edge of Infinity. Museum of Science and the Cosmos in La Laguna (Tenerife), in 2000. Dreamy. House of Culture of the City of Utrera (Sevilla), in 2001. Beauties. Municipal Exhibition Hall of the City of Requena (Valencia), in 2001. The edge to infinity. School Site Espaola Reichina Therapy, Valencia, in 2001. As the water. Des Arts in Palau Altea (Alicante) in January 2004. Four Elements. Des Arts in Palau Altea (Alicante), 22 December 2004 to January 10, 2005. EXHIBITIONS: Two views of Zen, along with Juan Carlos del Ro. Exhibition Hall Pro-40, Zaragoza, in 2002. OTHER WORKS: Calendar Tbula (Alicante) 2004. Tbula Calendar (Alicante) 2005. Habitual collaboration with Tbula Communication, Marketing and Design. Collaboration n with digital and print magazines. CURRENT PROJECTS: Masks, collection of portraits from digital photos worked in Photoshop. Roca Viva story on the color and texture of the rocks. Pessoa in his eye, collection of photographs inspired by the reading of Fernando Pessoa. The sutra of the mountains and rivers ", collection of photographs inspired by the homonymous text Eihei Dgen Zen master (XIII century). Ms collections at: www . dokusho.eu The photograph of a Zen master. Togores Alexander, painter, director of TV program in the Canaries. I visited the exhibition of photographs of the Zen Master DokushVillalba the edge of Infinity, which estabierta at the Museum of Science and the Cosmos in La Laguna. AFTER seeing her I felt the urge to write something about it and we want to do Creque was ordained an article from the point of view of the way and also from the content but I aquque, now that I'm escribindolo, I find that momentum is more personal, I feel like, as the exhibition itself, do something m s heart to heart. This leads me to start with what would surely have been the end, the CONCLUSION that had reached a reasonable way. So I start by saying that the exhibition is a breath of fresh air and deep. That is an invitation to look ordinary in that way that only those who have crossed the barrier of confusion can do, something that not many artists can apply, and that gives us that wonderful feeling of familiarity with something we know, perhaps, only by the deep intuition that humans have sque all and that makes us feel confident that you can trust, that lets us know we really know and allows us to experiment with that fleeting moment of personal oblivion, as contemplated by rapture with which we are more creative and certain that the paper usually play and we both cling. Photography in his short career, does not reach one hundred seventy-five todavaa years, has gone from the invention whose mission principal was to accurately reproduce and transmit the largest flow of information within the scope of the representable to be a new way, a new medium for artistic expression in any of their views: they represented, symbolic or abstract. With Master Dokushhemos come, maybe surely a new space for art in the West as is the scope of consciousness. We will not find in the exhibition photos fetched; not find that testimony, so common in so many photographers of the moment, vulgar and uprooted it exists, will not find on the edge of Infinity neither magic nor artifice and yet Family rocks in any landscape, the roadside trees, reflections in water, or the butterfly and its shadow, photos become messengers of the harmony he perceives that clean look that perceives reality freely, creatively , with no obligation to reproduce the idea of the thing we call rock tree or reflection before any reflection, tree or rock will find photos of someone leaving ATRS ideas, you have seen and engrossed in the amazing world of the nameless wisdom. San Juan de la Cruz to say without knowing all science transcending knowledge, suggest, surely the space of creativity as characteristic of humans as impractical. In Tenerife, where both the photographer can see, we are very happy with this exhibition we are located not only at a job well done, but to look very new and interesting photography, with a very suggestive way of doing photography. Indeterminate, unlimited, infinite. William Sampson, anthropologist, researcher in Philosophy of communication Studies, University of Oviedo. DokushVillalba says that the look is the eternal creator of reality. And it is true that visual art is a bond between the photographer and the viewer, a message that passes between recreating creative look and look, a message from the gods from an infinite soul to other souls equally open. It is paradoxical experience the realization of being expressed in its opening Heideggerian Ereignis Ereignis der ereignung: occurrence of the event-stilled aqupor a feline look, searching, who redeems his ostracism and brings inanimate object towards his own rebirth. DokushVillalba is an experienced cosmonaut asmismo soul and is defined as an amateur photographer, AMSE appears to me more like an amateur, which is properly aqul he loves. His photography is in this sense, erotic and alqumica, their images, which reveal the tenderness and firmness of the embrace between Eros and Psyche, covering RFIC cycle that matches the domains of life and death, movement and fixity csmico the moment, bring us to other worlds estn, however, in this one, according to the celebrated epigram Pound. Worlds made of time-space containing the whole in part, faded from memory boxes diffuse galcticas Epiphanes, edges of the universe that placed Kubrick at this time and found in these skies and these cliffs, flashes of dense matter lethargic in hibernation or torpor transtemporal stubborn, meditation and breathing minerality fleeting nature microjardines whimsical design in their games zen idle. Appearing to the exhibitions is DokushVillalba set foot on the edge, alldonde conventional laws remain in suspension, where the intimate detail of the parable is transformed into absolute, where light and shadow outline contours l Biles to comps breath and elementary particles are diluted and regrouped according the beating of a heart in love. Not in vain as Plato in his Phaedrus, establishes the bond between love demirgico the expresiny soul. As, what Roland Barthes called the punctum, the secret spring that activates a image a constellation of meanings, not aqula matrix displays personal history but that sends us on the adventure of existence csmica and, to say Somehow, at the age of eclosin, when all beings coexist in harmony before the names and differences; asse consummates the ceremony back to the origin, history re-knowledge, writing in an alphabet icnico myth. And the current rumor dreamlike invites us to wonder about the other half. Approaches the dreamer? Ques what soad? Zu Chuan Butterfly Let yourself absorb the dance of these looks purifies and boosts pupil minimum to a delicious experience of contemplation that returns us to the magic and wonder of the world recovers, the miracle of life. Framing trained in the art of stalking and unexpected finding the fundamental principle that embraces all phenomena, ms allde the categories and dualisms idealists. The photographs of Dokusho Villalba are sacred syllables of a primal chant, which is also the end of the curve of the time, echoing an echo of eternity. Eternity achenes understood the meaning of plasmacin pointed to this, moment by moment, eternally. This is how the world's being becomes being-in-the-world, Promethean fire, Hlito operator.