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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, collaborations and group shows make up this body of work: Lo más profundo es la piel, Sentí que podía traspasar la membrana, Scroll, Performing Skin, and Porous.

Lo más profundo es la piel (2025)

Group exhibition at Chaíz Estudio, Madrid, curated by Arturo F. Peral, exploring the skin as a surface of meaning, featuring works by: Alba Fernández Fuertes, Judit Chulia Orduña, Marina Lastra and Sara Willa.

A selection of works that continue an exploration of the skin and the tensions between violence and repair: gestures of burning to fuse, piercing to stretch, and stitching to mend. An interest in the grotesque, scarred membrane of the skin, moving away from ideals of purity and smoothness to reveal how time, environment, damage, and pleasure manifest on the surfaces of bodies. Collagen-based gelatines, latex, bacterial cellulose, SCOBY skins, and synthetic adhesives are combined, blurring the boundaries between the organic and the synthetic.

In Flesh Tapestry and Stretch Piece, the skin is extended, stretched, and layered to become a dismembered yet sensitive material. Here, the skin is treated as both a record and an agent: a living archive of encounters, capable of registering events and absorbing impacts. Membrane explores the skin as a breathing organ, as a porous threshold between the internal and the external. It envisions a body that is both membrane and lung, capable of dispersed, trans-temporal respiration across the entire surface of its body.

Exhibition photos from Lo más profundo es la piel, Chaíz Estudio.

Sentí que podía traspasar la membrana (2024)

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 (2023)

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 (2022)

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 (2021)

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.

Affective Jolt

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