About

What to remember and how to remember? These are the key concerns in my practice, which unearths and reworks images and symbols from the past in order to create a “new memory file” which takes a critical view of social and political issues, as well as historical narratives. Through a wide range of artistic expressions, I unfold a new symbolic dimension. My goal is to Explore the connection between science and art through of the impact of digital technologies on individual and collective spheres of identity conditioning my work to an ongoing dialogue with different communities.

Drawing on my own memories, I translate the private into the public encouraging viewers to re-examine personal recollection while building collective memory together. The recurring themes in my work have been exile and displacement, identity and fragmentation, manipulation, abuse, and loss. Created from a variety of materials, including resin, rubber, artificial blood and biomaterials, my installations attempt to visualize what we often cannot or will not see—and what we cannot, therefore, remember—making it a necessary foundation for rethinking the present and the future.

The notion of the collective body has also been present in my work. Throughout history, the female body was presented as a model of absence where various identities are inscribed, and built with the language of non-existence. By introducing blood, which circulates through “veins” fused with clothing I surround the body with unthinkable references. The mobility of blood questions the immovable role that history assigns to us.

Regarding the haunting and absent body, I appeal to the veil -skin and textile at the same time- which conceals and reveals simultaneously, challenging the concept of identity and producing a tension between the inside and the outside.

The veil appears like a second skin; it stigmatizes, silences, and establishes a physical border. It also incorporates the idea of the spectral, which puts the concept of identity in check. Because it is “silent,” this iconic image allows me to question hierarchies and systems of exclusion, shaking the very status of representation.

I believe that installation is the only possible means to make the work present since it is a totalizing space that breaks linear time and contradicts the unifying gaze by relocating images circulating in the homogeneous space of the world at large and creating connections between them. In this contingent universe, the outside always enters the work, opening up multiple narratives.

In my recent installations, I introduced new technologies -3d modelling and printing, robotics and videoinstallations - that, to quote Donna Haraway’s “Cyborg Manifesto,” obscure “the boundaries between self and other, penetrating our intimacy.”

For some time now my work has gone through the hybrid processes between what is organic and what is technological, generating chimerical beings. Shifting the axis from its human dimension, I approach the cyborg narratives intertwining reality and fiction, in an intermingling between human and non-human, organic/artificial scopes, creating a dialogue between materials that come from opposing realities to convey an unresolved tension.