IMAGINARY. B / W photography, series of 22 pieces. 2016.
The concept of imaginary is linked to the categories of imagination and image. From cultural and aesthetic studies, imaginaries are linked to creation processes through which people create an image of their own world, who are we? How do we see ourselves? How do we recognize ourselves? And how do we represent ourselves? The concept of Imaginary is linked mainly to the construction of an image that becomes visible thanks to the abstraction of a symbol (mother), its meaning (daughter / mother / grandmother) and its signifier (woman).
The challenge for this proposal consisted in developing a simple gesture that would allow me to stage the face of the disappeared son, but above all avoiding a context of pain, since it was precisely about allowing resilience through artistic gesture.
Mirrors have been a constant throughout my work, which in general terms, we could say that up to this point my work has revolved around concepts such as: Identity, image-memory and self-representation. In principle, I integrated the mirror into my proposals due to its physical capacity for reflection, the same physical condition that I have found in other elements such as polished steel or some acetates. This physical property of these elements has become for me the ideal raw material to build works that speak of ourselves. The mirror is the support for representation, of oneself and of the other. Looking at myself and looking at the other and building an image that comes from this reflection has been my interest as an artist.
This is why in this case, the resulting self-portraits are the product of an action that combines drawing with photography. In the first instance, each of the mothers outlined her own face by looking in the mirror, and later she was portrayed, observing and observing in those few lines not only her, but also that beloved son who one day left and never returned. The use of photography was not simply a technique, it was not merely a support on which a reality is skillfully evidenced; rather, above all, it was a material (due to its indexical values that put the relationship of the image with reality in crisis, due to its evocative capacity, and due to its treatment of time, among other things). The photographic became the working material that allowed me to make an action of resilience, a source of creation.