Photographer Gabriel Marcos is the Edge of Humanity Magazine contributor of these images. To see Gabriel’s body of work, click on any photograph.

Artist’s Statement:

Skateboarding, punk and graffiti were my pillars at a young age, so I’ve always been drawn to the street.

Coming from a place like Venezuela, you develop some sort of sixth sense when you’re out there—always alert, always awake. You don’t blink.

Street photography has shaped how I see the world—how I read the streets and feel the pulse of urban life. There’s a rawness, a wild energy out there that mirror what’s inside me.

The street is like a reflection of what’s inside of us if you pay close attention, or sometimes feels like a window that shows you something about yourself if you dare to take a look. It’s all connected.

I’m always searching for that missing piece, trying to fill an inner void that my mind keeps telling me is there. It’s like I’m answering a question that hasn’t been asked. I feel lost, wandering, but that search gives me a sense of purpose—it keeps me going.

I’ve realized that through photography, I study my own nature, trying to find myself in the images I capture. It’s not about the reality itself but how I interact with it. It’s like my eyes ask the questions while the camera provides the answers. I know what I’m shooting, but the camera acts like an interface.

Irving Penn said that working on photography is working on oneself. I get that now—it’s true.

The Japanese snapshot culture is something that I gravitate towards, from the Provoke era to the VoidTokyo times.

Black and white allows me, through layers, texture and high contrast, to express the aggression, energy, and intensity that I’ve always had in me—just like I did back in the days when riding through the city with my skateboard or jumping into the crowd with my bass guitar during a gig.

I see my photos as individual snapshots, like traces of memories from something we’ve never lived, making it impossible to track or fully understand them.