This work was born from the attempt to demolish the victimizing attitude through awareness that I recognize as an important part of my ego and which I need to get rid of.
My tendency to victimhood does not allow me to be as free as I would like. Victimization makes me blame other for my own weaknesses and insecurities, but sometimes it is even an imaginary prison; it warps reality, it makes me feel like a victim of something that perhaps has not even happened.
Victimization also prevents me from setting limits, it makes me run away from difficult situations instead of facing them.
At the end of the day, I am drowning myself; keeping alive a whole series of attitudes, behaviors, thoughts and patterns that I have forged throughout my life, and that "justify" me as a victim.
I found the frame of the painting in the trash, and covered it with gold foil, allowing the old wood to continue to be seen in some areas, thus respecting the history of the object. The rigid polyurethane relief shows my deformed face, pressed by my own hand, which chokes me and does not let me breathe. The hand represents how my ego squeezes me and deforms reality.
Below, more of my hands, made of plaster, broken, have fallen, forming a mountain of tens or hundreds of hands. The magnitude of the lump of hands wants to reflect the pain caused by the repetition of this situation in the past. I'll keep creating more hands as long as I continue to acknowledge myself in victimization.
With this work I intend to accuse the pornographic industry for conditioning our sexual identity and I question the normalization of certain behaviors of a violent nature that I consider an apology for rape.
What sexual identity can we have in a sexist, capitalist and highly hierarchical society, in which we are molded so that we believe that we enjoy abusing or being abused? Perhaps, isn't it the same mechanism that operates in other facets of our society?
In the center of the installation are cast bronze boxing gloves, resting on the floor. These heavy, shiny gloves represent the powerful porn industry and its place in society. Above the gloves, a leather punching bag is hung, from which different parts of human bodies protrude.
The punching bag represents the porn show, and the sex organs represent the actresses and actors, victims of the violence typical of this system. A circle of white porcelain brains surrounds the entire scene, and in its fragility embodies the audience, testimony to the spectacle.
Each one of the brains carries a gag ball, the mere observation of what happens in the representation of porn makes us subsequent victims; It restricts us and does not allow our true sexual identity to express itself.
This work has similarities to Dissociation. It is a "bourgeois" mirror, made of gilt metal and chandelier feet. Underneath is a heavy concrete formwork, from which a thick chain emerges. At the other end of the chain, in front of the mirror, a golden chair is tied, overturned on the floor.
It is a metaphor for the useless attempt to escape by a part of me that I don't want to see and it is difficult for me to accept. Looking honestly, sometimes, produces rejection.
The chain and the formwork say that - whether I want to or not - sooner or later I will be forced to give in and sit and watch myself; there is no option to avoid it permanently.
The chair is overturned by the outburst of flight, caused by the pain of the ego.
Limited by Abundance
It is a basic table to which I added four more legs at the top.
The excess of legs, instead of increasing the efficiency or usability of the object, condemns it to uselessness.
With this work, I try to make a critical reflection on the concept of abundance in our society. We all look for it obsessively. We never seem to be satisfied with how much of anything we have.
In capitalist society, this exaggerated drive to collect implies a radical and accelerated consumption of both material objects and experiences that, however, instead of satisfying our appetite, condemns us to uselessness, throws us into a loop of longings and dependence that makes us useless.
It is a crib surrounded by an electric fencing system similar to the ones that are used to contain livestock.
The system symbolically points out that the child receives a punishment every time they try to leave the place where they are supposed to stay. In this way, the child remains conditioned, developing a fear that will prevent them from seeking freedom in his adulthood.
The wire from the fence is connected to a battery located under an iron chair, representing the father or mother. I want to convey that the people who love the child the most are the same people who exert a conditioning control that will harm the baby for life.
The chair is made of iron, and is also connected to the electrical system, to stage the bidirectionality of the discharge: by conditioning the other to not be free, the conditioner is also conditioned, and continues to repeat the conditioning pattern to which he has been subjected.
It is an autobiographical work. With it I intend to narrate a cathartic moment in my life. I wondered in some depth who I was and where I was, and from this reflection a vision emerged, which I reconstructed in a sculpture made from material found in the garbage.
It is composed of an armchair and a mirror frame, to which 16kms of VHS tapes are glued. These tapes were mostly used to reproduce films, in which actresses and actors play roles.
The work alludes to me, as if I am looking at myself in the mirror, looking for myself in the reflection. But the answer is “you are not here; here, there are only constructed and empty identities, in search of social approval.”
My true being, my deep being, is covered, hidden.