The work DOORS is an audio, just one of the mediums you use for your works. What is your relationship between tangible and intangible matter?
The work DOORS is an audio, just one of the mediums you use for your works. What is your relationship between tangible and intangible matter?
My approach to sound is sculptural, and I perceive it as a tangible element in addition to its physical properties. We could consider how the energy of a sound wave affects the surrounding matter, to say that the relationship between the mediums I work with is of a material nature.
Your practice comes close to the concept of “updated conceptualism”, a term coined by curatorial critic Cédric Fauq that identifies the practice of BIPOC artists who are connected to social justice but refuse to exhibit Western expectations about race when exploring these issues. Is DOORS an example of this concept?
Probably exactly that.
The words in your audio recall Evanescence’s lyrics of Bring Me to Life. What is the reason for choosing this song?
The choice was intuitive. First, I knew I wanted to do a sound piece in which I was crying. Later, this one song in particular came to me, and I knew it was it.
Crying and lamenting are not only an outburst of the person but also anthropologically, as recounted by Ernesto De Martino, a ritual. What value does weeping have for you?
In particular, for the work, I aimed to create a piece where I could express my emotions through crying, allowing me to relinquish some control over my voice while narrating a text. On a personal level, I had been unable to cry for approximately seven years, so this work also reflects my current physical and mental state.
We find ourselves stuck to screens every day, 24/7, both for work and free time, through private life and necessity. Can DOORS be interpreted as a sliding door that offers a personal escape from this digitally saturated social condition?
In all my works, in addition to a research-based approach, there is also the intention that the audience can engage with their own narratives. Therefore, even if one’s perspective does not align with what I am exploring, there is hopefully room for other interpretations.