Homeland

Homeland

Migration is seen from the perspective of the subject, the one who leaves, the one who stays, by means of scrutinizing their psychology, their longings, expectations and frustrations.

In this sense, the motives for these migrations become essential in understanding the subjective processes that in turn, make up a collective memory about the phenomena. That’s why displacement, mobility and dynamism are discourse elements constructed in the pieces from diverse strategies and morphologies. Motioning mechanical wheels, forests of photographic fragments imitating oceans, and structures activating perception games are some of the devices employed by the artist to unravel her poetics.

Similarly, the ocean becomes a sine qua non condition in these productions.

Its use in fragmented images works as a symbol of the risk of the situation and the difficulties one may face in the passage from one place to another. Self-evaluation and self-discovery are stimulated by the creator through the use of the mirror. Spectators are constantly tempted to disclose their own history, memories and experiences when they are in front of these fragments, in the midst of the road there or back.