WORK
Affective Jolt
Hissing Organs
Found Object Sculptures
Matteria
LUGAR
Imprints, Mutations
Liquid Skins
Somaesthesia
Sculpture Archive
Performance Archive
Affective Jolt
Using skin as a conceptual container, the research behind these works explores porosity and permeability, bodily memory, affectation between bodies, surface and threshold, and tactility as a site of transformative encounter. Various installations make up this body of work: Sentí que podía traspasar la membrana, Scroll, Performing Skin, and Porous.
Sentí que podía traspasar la membrana
Sentí que podía traspasar la membrana (I felt I could reach through the membrane) is a sculptural-audiovisual installation in collaboration with video artist Sofia Rozen. The installation explores the relationship between skin and breath, creating a space conducive to heightened perception and sensoriality in tune with the rhythm proposed by the bodies. The skin as a map that reveals the movement of the breath in a continuous and abstracted landscape of the body.
Three dialoguing elements comprise the installation. A skin-like surface hangs next to a luminous body that breathes, cyclically inflating and deflating, while a video projects various fragments of breathing skin and tracing details of their texture, porosity and rhythm. These elements, in their relationality, explore the skin as a permeable interface, as an organ that breathes, as a porous border between the internal and the external; and rhythm as a primal language of the body.
Documentation from Meet Arts Festival at Pluto, Valencia, Spain. Video footage shot by Philippine Sellam.
Scroll
A 5 meter long continuous sheet of skin-like surface, Scroll plays with the idea of skin as a disembodied material, installed in a situation between surgical and administrative. Offering itself up to be examined or read, its wrinkles, marks and scars inviting the spectator to trace imaginary memories, conditions, or injuries.
Performing Skin
A sculpture designed to interact with light and movement, emulating the surface of a body using latex, paper, oil, blood, and pigment. Simulation of the organic where deadness meets aliveness. This artificial “skin” comes alive through its own materiality, in combination with light, gravity, and time.
Sculpture featured in experiential theater works: La Espectadora and INTRO (bis), in collaboration with Talarmadera performance project and shown at La Residencia and Carme Teatre (Valencia). Soundscape by Vir Roig. Images by Sofia Rozenwurcel.
Porous
The idea was to create a giant organ capable of registering and absorbing the textures and toxins of the surrounding environment, imagining that the memory of a place could be evidenced on its surface. Created and photographed in Barreiro Industrial Park, in collaboration with the environment and its materials and elements: charcoal, caput mortuum, earth, sand, plastic remnants, rain, gravity.