The project present scenes laden with symbols and metaphors associated with life memories of Frida in her house. These memories are extracted from historical research from letters and several testimonies of close parents and friends, published in the biographies of Hayden Herrera, Salomon Grimberg, Isolda Kahlo, Olga Campos and Marta Zamora, among others.
This project have also been developed by a deep and extended research of unpublished photos and documents from Institutional Archives like Museo Frida Kahlo, Isolda P. Kahlo, the Spencer Throckmorton Gallery, the Nickolas Muray Photo Archives, Fundación Héctor García, Institut Mémoires of l’édition contemporaine, the Smithsonian Archives of American Art, Fundación Leo Matiz and CCP University of Arizona. The details that set up the construction of these scenes are inspired on photos and documents from this research, as well as on an in-depth study into Kahlo’s pictorial work.
These works as a whole constitute a sort of narrative, chronology and portrait through the space, a contemporary Way of the Cross in which I committed myself to a personal quest through Frida, and to a quest for Frida through my own personal questions.
The project consists of 54 preparative drawings, 56 oils on linen and cotton, as well as sketches, worksheets, research notebooks, diary and videos aiming at conveying a methodology of research and creation in contemporary art.
The project have been partialy shown in Atelier Hermès - Seoul (Korea) in 2017-2018, Galerie Dukan - Paris, France in 2015, Art-Up Lille (France) in 2015 and the Institut Français - Madrid (Spain) in 2013-2014.
You don’t really realize when you are happy. Happiness takes a certain amount of unconsciousness and ingenuousness. It’s only possible when you don’t think, because thinking refers to remembering, leading us to the past, converting happiness into nostalgia. From there, what seemed insigni cant to us, moves into the extraordinary sphere of memory.
In this series of drawings and oils, I return to my childhood’s house, painting my father’s and my own stories as a memory exercise. As if I could renew a present time lost in remembrance through the permanent time of painting.
The series is composed by 12 drawings and 12 oils that were exhibited in a solo show at Volta Art Fair, New York (USA) in 2017.
In February 2014 thousands of Venezuelans took to the streets to demand a more honourable life. Lack, and in certain cases, the total absence of food and basic necessities, endless queues for buying just certain controlled products, the de nitive closing of numerous stores and companies, violence costing 25 000 lives every year, lack of medicine in hospitals and pharmacies. There was no lack of reason for the Venezuelans to explode....
The consequences were horrendous: many protesters were killed; hundreds were wounded, tortured, tracked down and imprisoned. Streets and houses set a re. Media did not convey what happened. The long time censored national platform silenced the people’s requests, accusations and the visual proof of the lawless violations suffered by the people.
Oficially or indirectly exiled Venezuelans live more and more each day moments of powerlessness and anxiety. They fear for the life and health of their family and friends. The telephone and social networks have become the only more or less reliable source of information in real time.
During weeks people were con ned to their homes. They lived a state of war, an exception state, which despite the truth, the government has never pronounced of cially. The telephone has become the echo of the silence when what we want to say can’t be spoken, and when what we cannot say is like a vivid wound.
I created the series of drawings ‘Telephone Conversations’ and the ‘You Have One Minute’ event during that February.
They took shape as a visceral and desperate expression that slowly became a kind of poetic proposition as well a political plastic discourse that is unfortunately still relevant today.
The event ‘You Have One Minute’ consisted in the installation of table and a land phone line in the exhibition space. The number was communicated out on social media. The line was put into service to received calls from Venezuela with an elapse time of one minute and at the end the communication was automatically stopped. People at the exhibition were invited to answer the calls. If anyone picked up the phone, the person calling could leave a message that could be listen in real time through ampli ed speaker installed in the exhibition space.
This project was shown during Pinta Art Fair, London (UK) in 2014.
In 2009, a law was introduced in Venezuela allowing the State to take over certain privately owned property, regarded as being of public interest. A proprietor could therefore nd himself dispossessed of his living space at any moment. I created twelve notebooks, entitled “Cuadernos de Expropiación” [Expropriation Notebooks] and a series of oils. Through twelve stories I described this state of fragility associated with a political situation that threatens memory and personal identity. I create images that question a territory in the process of changing. Based on an introspective approach, a poetic melancholy emanates from these works. An attempt to express my thoughts and share a familiar universe, weave links that are remote from reality.
The project was exhibited at the Palais de Tokyo, Paris (France) in 2011.