"Nodos" is a reflection about the influence of our ancestors in the construction of our personal identity and memory’s roll. the way we narrate ourselves and how our family’s story is esencial to the construction of who we are. A node is a point of union, interrelation and connection used in different disciplines. Based on the links generated between my grandmother, my mother and myself, I investigated these relationships that were created. How much of our ancestors are in us? 

The coordinates of this journey are the family album photographs, a childhood drawing or an X-ray. With this map I travel through the family history. Reconstructing my own history means interpreting it, altering it and creating it with my experiences and perceptions, using the stories I have been told, those I have heard or those I have imagined from the documents I have received.

Going through their fears and dreams, analyzing their gestures or reviewing their lives allows me to break through the barriers that adopting the role of a granddaughter or daughter implies. It is the exercise of putting all three on the same level in order to connect and empathize in a different way than I have done up to now. Therefore, Nodos is a journey to the past with a view to the future, because it is the attempt to draw a generational map where distances are narrowed and these three generations and those that follow are put on the same temporal and personal dimensions.


Nodos

Triangle

The imagery in my art emerges from personal and collective experiences. Most of my work signifies the unpredictability of events from emergence to dissolution. These visual narratives are more often than not, depicted with the use of the figure and doll heads as key components.
 These symbols are usually interlaced with cultural inquisitions and inquiries of social stigmatization. I get my inspiration from various sources such as; historical references, ancient artifacts, Islamic designs, scripture, social aspects as well as sexuality and gender issues.



The Doll Series

Tonight

This project explores how human beings cling to the impossible durability of objects in order to fight the passage of time. Based on the tradition of placing flowers on the graves of the dead, "Sempre" proposes to reflect on the meaning of life, the unstoppable passage of time and fleeting moments. In this sense, the project establishes a dialogue between the artificial and the natural, between life and death and between the plastic and the organic.

The project is called "Sempre" (in Catalan it means "always") because it is the word that concentrates the key idea to be explored. It is impossible at the moment it is articulated, because nothing "lives" forever, perhaps love is the only thing that lasts. This is a term we use on numerous occasions in our daily lives and without thinking about it we are supported by that feeling of thinking that during the moment we pronounce it that was forever.

Sempre

My answer to life
122x76 cm 
oil color  on canvas 

My answer to life

"The Anthropocene (...) is a proposed geological epoch dating from the commencement of significant human impact on Earth's geology and ecosystems (...)“ Source: Wikipedia
Humankind as parasites, assimilating at any sacrifice, robbing, killing, conserving, yawning for power and immortality.
Parts of dead animals, dissected marrowbones - archaic material as well as remaining waste of every day's meet consumption are being conserved in anorganic material - Soft PVC, a persistent petroleum product while re-contextualized within the shape of a pillow. 
The initial (interior) product's surplus value, ease and comfort, is being revoked and replaced by a new form language - turning the piece into a mythologically charged object.

Almost half of the quarantine’s period I was busy cooking large amounts of cattle marrowbones hours of hours in different suds and salt baths - macerating, bleaching and scraping away all remaining flesh, fats, proteins & gelatins, while being in a constant state of loathing and meditation.

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