Regarding the subject, the piece is part of a series based on Cuzco paintings that represent the Virgin girl spinning dressed as the Inca Ñusta, an image that mixes the Andean culture with the Spanish. The girls look at us, impassive, they go through time carrying their treasure until they deliver it to Diana, a contemporary Ñusta / girl. In terms of representation and support, the piece plays with the boundary between what is and is not textile. The cards used to translate the design that is woven on jacquard looms are considered the antecedent of the cards of the first computers. The binary logic (a taken, a left, card with or without a hole) is translated into the binary logic of the digital language of zeros and ones. The image is a fabric (?) Whose support is binary in a double game, that of digital language and that of textile language. However, the three-dimensional illusion is also digital. Is textile a fabric that exists as a possibility of being woven? Are works that are only shown and exhibited in the virtual universe textiles? Like the virgins-ñustas, the textile of the digital world is configured in an ambiguous space.
The production and use of plastic materials derived from petroleum invades, modifies and becomes a multi-present threat to the environment. There are about 5.25 billion pieces of plastic in the oceans. Marine and terrestrial animals eat plastic: "Mutants" symbolize the implications of this fatal behavior; they are the inhabitants of a dystopia where plastic reproduces itself.
This is a photo of my back + the photo of the impact of a bullit. The back is the place of vulnerability. People I know who needed to hide during the dictatorship period in my country of origin, Argentina, never seats with the back to the door. You can not see the peril that way. I developed a problem in my bone narrow after a very stressful period.It is a meaningful place, literally and metaphorically, the place were the world impact you