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The sense of living "in-between" is at the core of my work, the sensation of inhabiting a neutral space just in the midst of two simultaneous opposites, of existing halfway between objective and subjective intervals, along with the theme of gender violence, the woman in that interval before and after the trauma. Interior and exterior, body and soul, matter and energy, presence and absence, figure and non-figure coexist in tension in a utopian, hermaphroditic, synchronic and spectral space-time that is, in turn, the precise interstice which aligns pain and the apparent non-pain present in the whole of my creating process.


Dress, underwear, fabric are the symbols and the tangible representation of that interlude connecting inside and outside, between what we hide and what we obviously want to be seen. They cover and discover, protect and expose acting as an obstacle to emotions and, simultaneously, they communicate those emotions explicitly outwards. Devoid of a corporeal figure to support them, they turn into a body-dress, a body-cloth, into fabric spectra: a footprint and a trail claiming a life of their own. Underwear is a borderline, an interval between intimacy and exposure, purity and sex, between the violent and the vulgar in opposition to the immaculate and the peaceful. The body as the grave to the soul, as said by Plato, or the individual halfway, at intervals between dualities, res estensa and res cogitans of which Cartesio spoke. Women bounded by the pain of physical or psychological violence exerted on them and the purity of the act of healing.


Similarly, the technique reflects that interlude between what is and what appears to be. Porcelain and ceramics, or neither. Fabrics or not. Resins creating an impression, hiding and showing the opposite of what they present. Fragility and strength. Handle with care.

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