Aitor Ortiz has developed a solid artistic career disputing the limits of architectural photography. The representation of the building is not seen from a documentary point of view instead refers the image to meta-photographic issues linked to the execution of the photograph or the formal possibilities of the representation itself. With this approach, his work has been extended into a more expanded field that includes the process of construction and perception of the image.
In front of his work, the viewer faces naked architectural constructions where there are no human tracks or elements that serve to contextualize these buildings. The reduction to structures without stylistic references creates doubt if the building is in the construction or degradation phase. This extirpation of all accessory causes the compositions to have a marked geometric character that enhances the structural component of the buildings, attending to their regularity and symmetry. Architecture abandons its third dimension in this way and becomes a two-dimensional and abstract representation that emphasizes its monumental aspect.
Some of his recent solo exhibitions include the KUTXA Hall (San Sebastián, 2019), Springer Gallery (Berlin, 2019), Senda Gallery (Barcelona, 2019), Max Estrella Gallery (Madrid, 2019), the Museum of the University of Navarra ( Pamplona, 2018), in Le Centquatre (Paris, 2015), on Canal de Isabel II (Madrid, 2013), in FOTOGRAFISKA and The Swedish Museum of Photography (Stockholm, 2011). His works are present in the collections of the Reina Sofía National Art Center Museum, the Masaveu Collection, the Guggenheim Museum Bilbao, and the La Caixa Foundation Contemporary Art Collection, among others.