This series explores Holy Week not as a liturgical event, but as a stage for visual tensions where the sacred collides with the everyday. Through the aesthetics of street photography, my gaze shifts away from the central iconography to seek out the margins: the physical exhaustion of the penitent, the spontaneous curiosity of childhood, and the transformation of public space into a theater of shadows and extreme contrasts.
My interest lies in the visual friction between religious iconography and worldly reality.
Bio
Álvaro Vegazo was born in the city of Sanlúcar de Barrameda, south of Andalucia, in 1977. He's technical engineer of civil works, but his authentic passion is photography. From his adolescence he was involocruded with it, but since 2015 he has been working seriously about street and documentary photography.
Awards
- Mención de Honor, en la categoría de Streetphotografy en PREMIOS INTERNACIONALES DE FOTOGRAFÍA (IPA) (2.019)
- Obra Destacada, en la categoría de Viajes y Aventuras del SIENA PREMIOS INTERNACIONALES DE FOTOGRAFÍA (SIPA) (2.019)
- Finalista en obras individuales en FOTOGRAFÍA CALLEJERA ITALIA EXPOSICIONES FLORENCIA (SPI) (2019)
- 2ª Mención de Honor, XXVI CONCURSO NACIONAL DE FOTOGRAFÍA CIUDAD DE ÚBEDA (2.019)
- Finalista en obras individuales en THE MIAMI SREET PHOTOGRAPHY FESTIVAL (2.019)
- Finalista en obras individuales STREET PHOTOGRAPHY INTERNATIONAL, LONDRES (SPi 2020)
- Finalista en proyectos y portfolios en PREMIOS DE FOTO DE CALLE URBANA, TRIESTE (2021)
- 2º premio en el PHOTO SLAM de THE MIAMI SREET PHOTOGRAPHY FESTIVAL (2022)
- Selección especial del jurado en LENSCULTURE STREET AWARDS (2023)
- Finalista y Medalla de Oro en la categoría de "humor callejero" dentro de PARIS INTERNATIONAL STREET PHOTO AWARDS (2023)
- 2º premio ITALIAN STREET PHOTO FESTIVAL (2024)
- Finalista LEICA STREET PHOTO (2025)
- Ganador en ALL ABOUT PHOTO AWARDS (2025)
- Category Winner in PHOTOJOURNALISM PRIZE (PJP, 2026)
Photographer
Alvaro Vegazo, Spain
This series explores Holy Week not as a liturgical event, but as a stage for visual tensions where the sacred collides with the everyday. Through the aesthetics of street photography, my gaze shifts away from the central iconography to seek out the margins: the physical exhaustion of the penitent, the spontaneous curiosity of childhood, and the transformation of public space into a theater of shadows and extreme contrasts.
My interest lies in the visual friction between religious iconography and worldly reality.