Reliquary
Ink and watercolors on Tengujo and Wenzhou papers
As an artist, I am interested in the idea of exchange and, based on it, I carry out different pictorial operations. I use highly technically specific materials, such as papers made from vegetable fibers (tengujo and cashmere), in contrast with precarious and humble elements, such as papers found in the street; but always and in all cases, materials with the seal of evident fragility and vulnerability[1]. In this series, the fragility of the paper is a correlate of the fragility of the discourses, since it is impossible to sustain a hegemonic narrative without fractures through which its contradictions and precariousness emerge; just as the canonical history of art intends. The paper becomes sculpture and the painting becomes rags, a melancholic trace caused by the arrangement of the torn fragments. Reliquary responds to a line of research that attempts to tear painting away from the classic two dimensions and include the idea of time in the course of its creation and in its instance of socialization. This proposal aims to be a reflection on the possibilities of painting to divide, to separate matter from the rest; to draw lines that set limits, borders, also between form and the rest, the formless.