Todo se ve tal como es (2017)
The search for the Zenú—Latin America’s first pottery-making people—led me to the Sierra Nevada de Santa Marta in Colombia. What began as research became an existential journey into what I came to call “naditud”: a neologism to describe a sensation of indefinite time, without breaks, with my mind elsewhere and yet fully absorbed in the present.
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Two years later, I wanted to give form to that experience using old alchemical formulas that believed in putrefaction as a generative action, and in black—or Opus Nigrum—as the great phase of dissolution and separation of substances. In the workshops of Arte Dos in Bogotá, sheets of paper in different colors were repeatedly screen-printed until each reached its own black. These were then buried as bundles beneath the humid earth of Subachoque.
Back in the studio, the torn papers were stitched back together with embroidery, and the bundles were opened to reveal the marks left by the process.
