On June 20, 2013, I presented the first work in my series of performances that make a commitment to convert the rite of passage of my birthday into an artistic procedure that alludes to what we know as memento mori.

“Reverse,” the second creation from this series, is a kind of regression to my origin; it is the reverse of the chronological sense as an alternative to refuse the inevitable death of my story. In this performance, with the help of my mother, I trigger a recall of all my past birthdays, through a game that takes the concept of Lacan’s “mirror stage,” until I reach the moment I left the comfort of the womb.

I lay down on a mirror (two feet by one) and remain (for 32 minutes) contemplating every part of my body that I can see through the mirror while I am listening to a recording of a reversed conversation that I had with my mother to remember and learn the details occurring on the day of my birth and all birthday parties until the last before this one.