Shown at Genalguacil Pueblo Museo, produced within the framework of Encuentros de Arte de Genalguacil
Jardín de verano underlines the value of women labour through the utterance of three elements that can be found in Genalguacil's rural environment: the curtain beads at the houses' entrances, floral culture and tradition and embroidering techniques, such as cross-stich. The installation, in the pursuit for touch, so much inherent to the caring gesture (caresses, hugs, etc), sets aside the traditional and inaccesible distance of the artwork and invites the public to cross and touch the curtain.
Digital Afterlife is a video installation that explores the tensions that occur between our digital identity and physical death. The main piece is a video, Spektra, in which the artist builds a fiction around the character of Spektra, a YouTuber worried about her online heritage who decides to hire digital legacy management services. Towards the end of the video, Spektra explains that this YouTube video was programmed to be published three days after her death, that is, she is a digital ghost that connects with us from the cloud.
Shown at Aragon Park II, at an abandoned office building in Madrid's periferia
In this interrupted building, the holes, the graffitis, the cracking and the debris expel some violence. In the face of danger, the nervous system dilates the pupils, speeds up pulse rate and breathing and increases muscular strength, preparing the body to fight or run away. It’s a chemical, visceral and unconscious reaction, deeply rooted in our animal instinct, that reminds us we can be prey.
As a woman, this underlying violence isn’t something punctual nor exclusive from this space. It's a systemic problem, whose aggressiveness forces us to think intelligent self-defence mechanisms and to regenerate the wounds it leaves us.
Solo show at Tuesday to Friday
It is very complicated to be an active artist with the actual life standards ruled by the neoliberal logics of hiperformance, self-exploitation, speculation and precariousness. But it is even harder to be an emergent artist. To produce art is a decision closer to an ascetic exercise of faith than to a professional one. Add to Wishlist is an ironic exercise of superstition where I invoke magic places to formulate those frustrated desires, which is to say, the basic lacks of a generation. Thus, the supernatural, the fabled and the supertitious traverses the exhibition.
Where do you see yourself in 10 years time? reflects on the hostile conditions of cultural and creative employability, versus the increasing competitiveness of the sector. This work refers specifically to the paradoxical questions asked at jobs interviews for temporary contracts, such as where do you see yourself in the future.
Shown at EDÉN, group show curated by CASANTILLÓN at Casa de Campo, Madrid
The sky is the limit! is a site-specific project for free use that took place by the ending of the first COVID Lockdown at Casa de Campo. The kite, besides being a symbol for freedom –perhaps quite appropiate after a confinement, is inserted in corporate marketing tradition as promotionals gifts. The sky is the limit revises pharmaceutical merchandising and underlines illness privatization throughout irony.
Shown at Wolves in sheeps clothing group show atTuesday to Friday
Trying to pay a home and a studio rent requires a very stable balance. In Feng Shui and Zhen tradition, stability and inner calm comes from the communion with nature such as rocks, water o sound. Nonetheless, if you don't have the time to soothe your soul while fighting economic frustration, you can always buy a product device that promises equilibrium.
Shown at Corriente alterna, Corriente continua, group show at Galería nueva, Madrid
For a while I couldn't afford a studio and I worked in my bedroom, at scarcely one meter from my own bed. When coping with these conditions, the most efficient medium for me was paint. It allows to project complex ideas in a flat surface. Also its storage and price are quite affordable. This body of work is a clear reflection of the contemporary precarious ways of production.