Born in Medina del Campo, Valladolid in 1955. Despite initially working as an advertising photographer and practicing industrial photography, by 1984 he began to show certain signs of the changes that would occur in his professional path with “Estampas personales” (“Personal Images”), prioritizing the reproduction of reality, to the detriment of mere documentation. It wasn’t until 1992, however, when he was given a job on the Teatro Calderón in Valladolid, that he would immerse himself in artistic photography, deciding to dedicate himself full-time to this discipline. His work has focused since the very beginning on landscapes and travel, not only from a physical standpoint but also as a personal quest and effort to attain consciousness. Based on his immediate surroundings, he created works such as “Paisajes”(“Landscapes”) in 1997, where Marcos reconnected with nature, the nooks and crannies of his childhood, recreating his memories. That same year, with “Los bienaventurados” (“The Blessed Ones”), the human figure erupted into his work, portraying prostitutes, children, and elderly persons squatting in two abandoned buildings, a project about cruelty, sadness, poverty, exclusion, and all those things that, despite being practically right in front of us, we never see.
In 1999, with “Obras póstumas” (“Posthumous Works”), his reenactments gave way to photographs of people reflected in screens inserted in real physical spaces involving narration. In 2000, with “La Chute” (“The Fix”), Ángel focused on people as his sole protagonists, as well as relationship problems.
In 2001, he traveled to New York, where he undertook a project that would wind up turning into another, longer-term effort. “Alrededor de un sueño” (“Around a Dream”) was focused primarily on the hopes and needs of that city’s residents and the relationship between them and all-mighty advertising, contrasting the desire for success and power with stories of failure and frustration among the city’s homeless population and its poor areas.
In 2002-2003, with “Rastros” (“Traces”), he returned to his more immediate surroundings and the recovery of his memory, introducing objects into those landscapes the artists was so familiar with, in Medina del Campo and its surrounding areas.
The following year, he traveled to Havana, focusing on the same themes as in his trip to New York, investigating the slogans and icons of the revolution while simultaneously contrasting and uniting this project with the work he had previously done with “En Cuba” (“In Cuba”).
To complete this project, there was no better place to visit than China, a communist country that had thrown its doors wide open to capitalism. He traveled there in 2007, spending a month in the urban hubs and surroundings of Hong Kong, Beijing, and Shangai. “China” is a wide-ranging photo and video project in which he accentuated the sharp contrasts between the past and the future. Continuing with this same theme, he traveled to Las Vegas the following year, resulting in “Un coup de dès” (“A Throw of the Dice”), landscapes where figures vanish into the city’s glowing signs and bright lights.
With his installation “La mar negra” (“The Black Sea”), he explored the phenomenon of immigration, focusing on immigrants from Senegal who come (or try to come) to the Canary Islands in search of the better world promised by the Internet and satellite TV. He captured the two extremes: the Christians’ port at Santa Cruz de Tenerife, where he witnessed the arrival of the small canoes full of Senegalese immigrants; and Sant Louis, where the boats set sail.He confronts us with the causes that drive immigrants to undertake this voyage, often risking their own lives.