What lies Within

David Aquino

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Stairwell heading down to the Reliance Theatre

Unity, 2023

Unity I (2023) light weight chitosante fabric, 40″ x 60″

Unity is a series consisting of large format (4×5) and digital self-portrait images in which I envision myself in a safe haven; a vast open field. The location of a vast field is a particular and special place as it is where I dream of being whenever I feel troubled. By appreciating the beautiful landscape, reflections of bodies of water, and nature itself, I start to feel free. Here, I am able to forget all anxieties, conflicts and problems. Here, I am transported to a space with no limitations, obstacles or boundaries. As I become immersed in this fantasized place I start to find a sense of inner peace within. Through authentic, delicate dance-like gestures and relaxing on the field it’s as if I’m finally allowing myself to become one, thus creating a sense of unity.

Installation view: The Show 2023, May 11-25, 2023, Emily Carr University of Art + Design, stairwell heading down to the Reliance Theatre
Other images from the Unity series
Unity IV (2023) Archival inkjet print, 16" x 20"
Unity IV (2023) Archival inkjet print, 16″ x 20″
Unity III (2023) Archival inkjet print, 16" x 20"
Unity III (2023) Archival inkjet print, 16″ x 20″
Unity V 2023) Archival inkjet print, 16" x 20"
Unity V (2023) Archival inkjet print, 16″ x 20″
Unity VI (2023) Archival inkjet print, 16" x 20"
Unity VI (2023) Archival inkjet print, 16″ x 20″
Unity II (2023) Archival inkjet print, 16" x 20"
Unity II (2023) Archival inkjet print, 20″ x 16″
Unity VII (2023) Archival inkjet print, 16" x 20"
Unity VII (2023) Archival inkjet print, 20″ x 16″
Unity VIII (2023) Archival inkjet print, 16" x 20"
Unity VIII (2023) Archival inkjet print, 16″ x 20″

The Change in Us, 2022

What we Once Were (2022) Archival inkjet print, 20″ x 24″

I’m intrigued by the effect and power a photograph has on us specifically in relation to memory and friendship. However, what happens when we can no longer hold on to those dear to us? In The Change in Us, I revisit archival-charged images investigating the fallout and loss between myself and my friend group.

In this series of works, I try to revive past intimate moments my friend group and I shared through photo manipulation. Once transformed I place the image on carefully replicated backdrops. The images themselves become submerged while extending off of certain elements within the original. The result is my attempt at reimagining and reliving core memories in a fabricated space.

The Change in Us serves as my way of mourning, the loss of connection between my friends and I. While one might deal with severed relationships confrontationally or verbally, I’ve responded artistically fueled by emotion. These altered images express care for myself and my friends at a distance. We are no longer how we were before, however, the interaction between time, space, past images and the present has allowed me to accept the harsh truth of not being able to hold on to those closest to you.

For the Better (2022) Archival inkjet print, 20″ x 24″
By Your Grace (2022) Archival inkjet print, 20″ x 24″
Best Wishes (2022) Archival inkjet print, 20″ x 24″

Installation view: Capture X ECUAD: Looking After: Photography as an Act of Care, Apr 2-30, 2023, Emily Carr University of Art + Design, Michael O’Brien Exhibitions Commons: Zone 4 1st Floor Gallery

Installation images by Khim Hipol

Other images from The Change in Us series

Home is Where Myself is, 2022

Dancing in the Kitchen (2022) Archival inkjet print, 16″ x 24″

I often find comfort in being alone, although at times I wish for someone to be by my side. In the series, Home is Where Myself is, I conjure up the feeling of what it’s like to be your own best friend. 

This series of photographs are taken in the comfort of my own home. I specifically position myself in sites where I feel most myself, such as the bathroom, kitchen, closet and bedroom. Spending ample time in these locations my curiosity takes over. What would it look like to have another person enjoy the same space and activities as me? The feeling of unrequited self-love is something I long to desire, so through photo manipulation, and doubling myself, these fantasized scenarios are brought to life. Through staging, performing and becoming playful in various scenes I become a stand-in for myself, filling the void of absence.

These images of imagined double self-portraits express how the feeling of home starts from within. We can be our own best friend, at times our worst enemy but most importantly, acknowledge that sometimes all we have is ourselves. 

Other images from the Home is Where Myself is series

Backyard (2022) Archival inkjet print, 16″ x 24″
Unveiling (2022) Archival inkjet print, 16″ x 24″
Self Care (2022) Archival inkjet print, 16″ x 24″
Bedroom (2022) Archival inkjet print, 16″ x 24″
Closet (2022) Archival inkjet print, 16″ x 24″
Watching TV (2022) Archival inkjet print, 16″ x 24″

Persona, 2022

Persona (2022) photobook, 8.5″ x 6″

Persona is a self-directed photoshoot series in which I explore my love for fashion. As I cycle and perform through various flamboyant outfits I present a persona that I deem true as opposed to the public sphere. I constantly wrestle with myself as I have trouble identifying hidden qualities of my character, reality, and the world around me. Thus turning the camera inwardly, the self-portraits I create capture thoughts and emotions I would otherwise have difficulty communicating.

Other images from the Persona series

Installation view: Why Photography? Nov 3-13, 2022, Emily Carr University of Art + Design, Michael O’Brien Exhibition Commons: Zone 2 2nd Floor Gallery
Installation image by Khim Hipol
Installation view: Inscapes: Our Landspace Within, Jan 26 – Apr 1, 2023
Italian Cultural Centre II Museo and Gallery
Installation image by Shanna Cheng

What’s Left Behind, 2023

What’s Left Behind is a new ongoing series in which I explore alternative process photography techniques. Inspired by Amber Lee, my aim is to expand my practice, interests and step outside my normal conventional staged and controlled photography.


In this body of work, I’m interested in the relationship between myself and nature; specifically, how I can use its gifts in collaboration with my art practice. Working on the unceded and traditional territories of the Musqueam, Squamish, and Tsleil-Waututh Coast Salish peoples (Vancouver, BC), I wanted to find an ethical and respectful way of working with the environment by sourcing locally. This would include walking around my neighbourhood, finding and foraging fallen plant and foliage-based materials. Once gathered, I treated the cyanotype-coated photo paper like a science experiment. I’m curious about playing with different materials, and substances, questioning what effect they leave on photographic paper and embracing unpredictability and chance.

Tillandsia Usneoides (2023) cyanolumen, 8″ x 10″

6th and St.George (2023) tiled wet cyanolumen made with fallen foliage from the Mount Pleasant neighbourhood, turmeric, gochugaru & apple cider vinegar, 40″ x 60″
Bouquet (2023) tiled wet cyanolumen made with flower remnants, turmeric, gochugaru & apple cider vinegar, 40″ x 60″
Rose (2023) wet cyanolumen made with rose petals & stem, turmeric, gochugaru & apple cider vinegar, 8″ x 10″
Verbena (2023) wet cyanolumen made with verbena, turmeric, gochugaru & apple cider vinegar, 8″ x 10″
Rose Petals (2023) wet cyanolumen made with rose petals, turmeric, gochugaru & apple cider vinegar, 8″ x 10″

Gifts from the Neighbourhood, 2023

Gifts from the Neighbourhood is an ongoing series exploring location, materiality and experimenting. In this series, I’m interested in what a location, Mount Pleasant, can provide. As I walk around the neighbourhood I photograph images of plant life on 35mm. If possible, I forage severed/fallen versions of the same plants I photographed, which I deem as “gifts,” to be used in the film soup process. After souping film in a natural concoction, the result is a collaboration between nature integrated into the photographic process.

35mm film souped in green tea, lemon juice and foliage from the Mount Pleasant neighbourhood


David Aquino

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David Aquino (b. 2001) is a photographer born, raised, and based in Vancouver BC on the unceded and traditional territories of the Musqueam, Squamish, and Tsleil-Waututh Coast Salish peoples. His work investigates the complications of the self, the longing for home, and the privacy of life. He is interested in how these themes coexist and obstruct the feeling of belonging.

His work has been exhibited and published in Capture Photography Festival (2021-2023) as part of the Stranger Than Fiction and Looking After: Photography as an Act of Care exhibition. He also received the Top Photo Student Scholarship (2019) from Artona.

He holds a BFA in Photography from Emily Carr University of Art and Design. (2023)

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