Close Encounters, 2019
Installation View.
This project was made in Nectar Residency Program and showed at ángels Barcelona_Espai 2 Gallery.
Art Nou Festival 2019
Galería Javier Silva, Valladolid, 2021
List of works:
Forever together. A story of love and hate.
Medium mix installation. Methacrylates, stone, bricks
This changes every thought.
Towel and label installation
Reenactment oft he very first dance.
Pictorial installation, nylon and metal bar.
We've never been introduced.
Sculptural installation Mixed media
You can write whatever you want in the stars
Lacquer, opaque fabric
Rain and morning dew: elements of art.
Watercolor and acrylic on paper
Close Encounters is the result of six performances that reflect on the subject-object relationship between human and nature. A one-by-one encounter with elements of nature such as Rain, Sun or Wind is the approach to break with this relation and make a subject-subject encounter possible.
As a participatory process, each of the six pieces starts from an action in which different natural elements have been invited to participate in the production process and decision, thus disabling the use of natural elements as an object or raw material in the artistic work to give it a quality of subject capable of influencing the development of the work of art.
Both the idea or romantic perception of nature and the nature-culture duality that Latour speaks in We´ve never been modernare questioned through this installation that proclaims neither a nature-culture duality nor a cultural nature, but a hybridity of both.
The title Close Encounters refers to the movie "Close Encounters of the Third Kind" - by Steven Spielberg, 1977, a film focused on the narration of a first encounter with extra-terrestrial beings. In Close Encounters proposal, the central axis is to imagine a series of encounters with beings or terrestrial elements.
Both the titles and materials of Close Encounters are intrinsically linked to Western pop culture and the consumer society: building bricks, plastic elements, nail polishes, glitter, synthetic fabrics, mixed with visualizations of forces and natural phenomena that influence in the process of production of the work and that interfere with these materials. Although the natural elements that participate in the work are not being used as materials and are not physically present, they are made visible otherwise.
Forever together. A story of love and hate shows us an installation of methacrylate with phrases inscribed with a stone and decontextualized from famous love / hate letters in human history.
As a tombstone, this installation tells us about time and the concept of eternity, about the necessary time for a stone to become sand and the 150-1000 years that a plastic such as methacrylate needs to degrade. A destiny that seems to keep both together for eternity.
In This changes every thought, we are shown a black towel discoloured through chemicals used in swimming pools and the sun over salt water. Both the sun and chemicals become visible through physical changes in the object.
In her book This changes Everything, Canadian journalist Naomi Klein tells us about the evidence of global warming and other crises as a result of neoliberal policies that promote the extraction, use and discharge of metals, hydrocarbons and chemicals.
This changes every thought is the visual evidence of the vicious chain of the use of chemical products and the imminent rise of the power of the sun, in an attempt to sensitize and propose a constant presence of this subject in every thought.
For the installation Reenactment of the very first dance, the wind and two trees have been invited to participate to stage the first dance in history.
On a semi-transparent fabric we are shown the colours, lines and shapes that are the result of the movement of both the material and the support caused by the wind. Inviting a natural element in production means giving up control to another force, whether we like the result or not.
Reenactment of the very first dance tells us about this transfer of control to nature, giving it the opportunity to stop being the object to become subject again.
We´ve never been introduced are short actions, brief formal presentations of the artist with her surroundings. Thus, small-scale sculptures are the visible mark of the moment of shaking hands with the ground, with a tree, with waste materials.
You can write whatever you want in the stars, it is an attempt to discover new constellations and new destinations in the sky. The overexploitation of the phrase "It is written in the stars" in popular culture places us in an often fateful destination from which it is not possible to escape and that we can only accept passively. You can write whatever you want in the stars tells us about the night and its psychological power, the darkness, the fear of the unknown but also another type of night, that of the party and the decline. You can write whatever you want in the stars poses on the one hand the danger of being able to write our own destiny with all the consequences but on the other that of being able to erase the one already written.
The process of discovering new constellations is shown as a painting on an opaque fabric. A black paint on black cloth, made during the dark of the night outdoors.
In Rain and morning dew: elements of art, rain and dew have been invited to participate. Two almost identical drawings that have been modified differently by rainwater and dew. A review of the exhibition Earth air fire water elements of art museum of fine arts Boston 1971 in which natural elements were still used as material within the artistic work.
