I am interested in the landscapes in which our memories emerge from. Text decay is an idea I have been playing with for a while—looking at the corners and limits of words, and following them where they go when they expire—has been somewhat of an empirical task for me.
Words to me have colors and structures and framing, in the same way that a visual art exhibition might imply.
Gödels Incompleteness Therum states that a system can never be fully complete and non-self referential.
In 2023 for Les Muses,, I looked at Inertial Frames of Reference (Installlation x physical process) as a method of reframing photos in flux (my Grandmother who was sick, a creek in my backyard, a girl that I was having compatibility challenges with) as an implicative exercise— even I was unaware of ‘how it all would end.’
Alerta d’Attenciò builds on this unknowing-ness of the future and asks what our attention is drawn towards at any given moment.
The walls of Gavia in Les Muses served as portals for implicating this question, through watercolors I had completed over the past 5 years while in New York and in L’escala in the summer, black and white photos taken at Rockaway Beach printed on expired photo paper from Italy, and polaroids of a girl with covid on New Years Eve that never developed correctly.
With no directions other than a simple placard denoting ‘potentialities’— the viewer in Alerta could choose to examine the watercolors as separate to the black and white photos on the wall, or perhaps they would notice the polaroids which mimicked the colors in the watercolors on the opposite wall. The horizon in the photos taken in Rockaway was staggered in rows of three to simulate event horizons.
Instead of informing, I am interested in questions, especially the ones we believe in, but never ask because they seem too simple, or too mundane— what if all of it is the same? What if patterns and interrelations are all there are? What if we give form to the installation itself, as participants in viewing?
At the center of the exhibition, under the windows looking out into the sea, was another portal, one that glowed brighter as the night went on— a 5x7 screen the same size as the paintings surrounding it.
Installation 57D was a collection of vignettes throughout 2024 that documented my relationship with spaces of everyday movement around me, some more emotionally resonant than others, and others more technically focused than others— as a type of interlude between dominant forms of movement that draw our attention as being referential. Instead, looking in the margins— the wind blowing throughout the frames, a girl’s hand on a piano, on the head of a dog—a construction man building a road— a cook cracking an egg— moments that by themselves draw our attention briefly—together draw our attention as _being drawn_ as the correspondences to look at in-and-of-themselves, for themselves, among others. The sound was original, unedited, and served as an audible glue between the other portals in Gavia— letting the viewer see traces of the spirits of the people and life featured— as all being in silent conversation with one another, at all times.
This is the feeling I hoped to explore for Les Muses 2024.
Alerta d’Attenció.
Paper x pen, watercolor x charcoal, color polaroids x b&w on expired photo paper. Video Installation x 34 minutes.
