A MATTER OF . . .
My work explores global issues such as migration, border politics, cross-cultural dialogue, freedom of expression, and women’s empowerment. My practice is motivated by a desire of challenging existing preconceptions and eliminating barriers to human unity.
Human unity is at the basis of my performative practice. The body is a bond that we all share. I am interested on how belief, illness, habits, and living conditions deform our bodies. I am in search of new embodiments, “ambiguous selves” in pursuit of liberation, bodies trying to express what is latent and hard to categorize.
Departing from personal experiences and historical representations of the female body as the Venus figurines, in a “A Matter Of . . .” I use a malleable material to generate social interactions and reduce separation. “A Matter Of . . .” is a durational performance that involves a process of metamorphosis of the body, and seeks to generate dialog and shared moments amongst strangers in the street. Motivated by a search of ambiguity, and following a desire to contemplate the body as a physical and emotional matter beyond established categorizations of gender, identity, race, socio-economic class, etc., “A Matter Of . . .” proposes the use of a malleable matter to explore potential understandings of the self, practice liberation in the public space, and promote empathy.
The material I use is heavy and glides over surfaces. My struggle to control the “matter” generates moments that go from tragic to comic, from absurd and disgusting to complete sobriety. The transformation of my body evokes themes related to weight, health, gender, violence, protection, care, liberation, vulnerability, and empowerment. In conjunction with my actions, the matter sometimes resembles fat, other times suggests stone, it may erase my facial features, evoke aging, become a shelter, or alter the shape of my body in unpredictable ways; its capacity to slowly glide gives the material a life on its own.
I walked, carrying around the heavy mass for as long as my body endured. The difficulty of carrying the sliding matter—the vision of a person in need of help—and the progressive transformations of my appearance served me to engage in dialogue and corporeal interaction with pedestrians. People tried to help, walked with me, chatted about their lives, engaged in unexpected group conversations, expressed concern, surprise, repulsion, compassion, and also laughed.