With humility I Was So Wrong encourages people to accept their limitations and normalize the concept of failure. What motivates individuals to delve into the exploration of this topic?
With humility I Was So Wrong encourages people to accept their limitations and normalize the concept of failure. What motivates individuals to delve into the exploration of this topic?
I believe that occasionally, there is nothing easier or more magnanimous than an act of acknowledgment, a confession. Failures make us human, and accepting our imperfections means accepting our living conditions. In a way, it is also an act of surrender, transcending individuality to embrace a shared emotion.
Three main aspects are co-present in I Was So Wrong: sound, the sculptural element, and the relationship with space. Printing the scan of your voice allows the visitor to visualize and explore an intimate and hidden part of you. Once inside the installation, the elements of the composition make the sound acoustically perceptible, bringing back a presence that interacts with the viewer.
In my research the sound is sublimated and becomes an image. I am aware that it may not be immediately recognized that this image is nothing more than the spectrogram of a sound, in this case, my voice, but it is not necessary. What interests me is the new state of sound representation, which in turn generates unique colors, shapes, and dimensions through an original semiotics of flags. I wanted to access the “potentiality” of my recorded voice in relation to this sentence, to “make it possible” once again in a new form.
The sound and the human voice are recurring elements in your works and often accompany or complement a sculptural intervention. Do you intend the sound dimension as another space that is behind and expands the reality that is manifested to the viewer?
For me, the auditory dimension is often a complement to the connection between the visible and the invisible, the literal and the imagined, the event and the trace (what happens and what remains). I am extremely interested in the moment of sublimation of a form, an image, or a sound, and the original state is essential to investigate its “potentiality”, its becoming possible once again. I believe that remembrance always restores the possibility of the past, and since sound can only be remembered, given that it has already disappeared the moment you hear it, it is, for me, the perfect element to connect the viewers with that more unconscious dimension of themselves.
A situation of stalemate and silence collides from time to time with a noise that leads to the filling of a space. With a wave-like movement between highs and lows you manage to never lower the temperature of the installation environments, creating a continuous expectation. A change of wave- lengths and perceptual references in the viewer who comes into contact with a space changed and infected by your works, which changes its parameters and relationships.
The moment of standstill and silence is the most intriguing, it’s the point at which what has happened could still be incomplete, and what has never been completes itself. The material used in the work is sublimated and becomes a medium for another dimension. It’s the element that grafts, catalyzes, and triggers the transition to the next event. Like the moment when you enter a dream... Just a moment ago, we were still awake.