Wearing all white athletic clothing I tossed a soccer ball into the air, let it collide with the left side of my chest, then caught it again. This action was repeated for approximately two hours in each of the two locations it was implemented. The ball was saturated with freshly mixed cochineal pigment (water and crushed insects). The first location was in front of the Pyramid of the Sun at the archeological site of Teotihuacan during the Spring Equinox Festival. The second was in front of the Torre Mayor, the largest skyscraper in Mexico, and home of several international investment companies.

I wanted to create a work that had many different levels of associations that related to my formative impressions and research. I also wanted to keep the visual experience and the action as simple as possible. The action created for this project was inspired by nuclear fusion (the collision of two elements under the force of gravity), and was intended as a metaphor for cultural fusion. The juxtapositions of location, architecture and materials (cochineal pigment/soccer ball) were intended to draw correlations between ancient and contemporary cultures. Additional diachronistic elements used as a way of trying to reflect my observations and experiences included ball sports, rituals and material structures of power.

It has been interesting to try to pin down this piece in its relation to its form as an artwork. On the one hand, the live act itself had two sets of interpretations based on each location it existed in discretely. On the other hand, the relation of the two sites can only be accessed through the photographic diptych, and it is this diptych and relationship that has critical importance to me as a document. It can be taken as a frame of context, an evolving process that finds a significance in its concept. In this case, a sign of time.