DE LAS AUSENCIAS, ACAECEN RESIDUOS
I have an intense feeling that our craft is a residue of what we do. Dead water is our poem. I
try to be conscious of what we leave behind, and when I pick up things I am conscious of
what has been discarded, yet somehow remains.
- Cecilia Vicuña
The pieces arranged in this space are part of a process and artistic practice that had its beginnings in my studies on theory and art history. Like all beginnings, this
interest arose from an academic essay in which I spoke of conceptual art and the so- called 'dematerialization' of art that never really ceased to be material.
My concern led to the assembly of pieces that I now present and that we can also
call a visual essay. I, like Cecilia Vicuña, think of residues as the result of
conceptual and artistic processes. As a remnant of analysis, reflection,
experimentation and research in my artistic practice. In that sense, I could define
what I do as experimental, in the materials I use and the different techniques I like to
use to resolve complications in the studio, a place where I carefully observe
processes and accidents.
I explore forms, materials and methodologies that I approach both from a rational
and sensitive point of view. A question, a thought or a feeling can be the main
catalyst for the birth of a new work. A materiality that for Jane Bennett would be to
«give body to the ontological imaginary of things and their powers.» 2
Inevitably, I consider that the idea of residue can also be understood as a fragment,
the remainder of something that happens in every work of art. During my residency, I have worked on the notion of absences that become present, trying to make visible
that which we cannot see.
I have resorted to painting, sculpture in ceramics, encapsulated in resins and
cyanotypes. In these, I try to use elements that play with the vital aspects of matter;
an agent that can intensify the living’s relationships with the dead. How we relate to
rocks we gathered, or hair that has been left behind. Some of these questions have
led me to explorations with cyanotypes; objects embodied with sunlight, appearing as contours within cyan. They appear with a time that is their own. Absence has a fluctuating time that lives within all bodies.
I think of painting as the medium that allows me to inhabit time through gesture, and
chance by drawing lines; a strip, a crack, a map, a shore, a territory or rather, a pain,
a sore. A body within a body. Textures that are the constant covering of what is
actually the quasi-final part of a process. The overflow in the painting coming out of
its frame generates a density, a soil on which the painting exists. In ceramics, joining
forms from the organic where there is always a crack is working with the lack of an
image. Finally, through transparencies and by encapsulating objects in resin, I try to
find a moment to look at things in another rhythm.
The matter that sustains us is alive, so our vibrant remains will remain in it. In this
sense, to make the absent appear is to find it present in a material form that makes
us see what is no longer there.
2 Bennett, Jane. "The Force of Things: Steps toward an Ecology of Matter." Political Theory 32, no. 3 (2004): 347-72.