“The Invisible Borders-Lines”

Place: Miami Dade Library Hispanic Branch, Miami FL,  United States
Date: September-December, 2017

This art project is based on the “Out of Africa” theory, in which all human beings share a common DNA and that the phenomenon of contemporary migration patterns has defined diversity based on acceptance /non-acceptance of perceived differences. The physical appearances of the models in the exhibition have been manipulated to reflect different racial prototypes. In doing so, I capture the beauty of each individual as well their racial or ethnic grouping. The exhibition exposes the contradiction inherent in the theory, that, while it is supported by science it can lead to a dilution in the appreciation of the minority groups created as a result of mass migration. My project also provokes a reflection on the fact that although science has made our common origins undeniable, we still adhere to the conflict-causing beliefs that we are so different.

“Behind the Layers”

Place: abandoned quarry at Ledgeview Nature Center, Chilton, Wisconsin United States
Date: May 19 -20 and 26 –27, 2006

“Behind the Layers” is a 20 minutes multimedia projection over one of the sections of the Niagara Escarpment in the Ledgeview Nature Center. This multimedia performance is developed and displayed by fourth slide projection units (in simultaneous use), a video projection unit and a concrete music soundtrack.

This artwork is based on the science of latent geological stratification in a local land formation. This multimedia is an approach to the Niagara Escarpment as a very unique development and combination of distinct natural transformations over time of land that forms the common ground of life in a great arc stretching from eastern Wisconsin to Niagara Falls.

The main concept of this artwork is the fractal foundation of different layers through millions of years. The visual icon of this multimedia is an animated transformation of a Wisconsin fossil figure to help viewers perceive the existence of a very powerful heritage from the oldest record of time to the present as a fundamental part of a major ecological system.

“Beyond Red”

Place: Campus Center, St. Norbert College, De Pere, WI, US,
Date: December 8, 2004

“Beyond Red” is a 20-minute multimedia installation which consists of one main video projection and sound with two simultaneous slideshows. “Beyond Red” is a visual approach to discover the non-conventional beauty and its incredible paradox on ethnic mixes in this eclectic country (US), where everything is combined in the most hybrid and seductive vestiges of human relationships. It’s a different way to appreciate the multiplicity and unique merger of beauty from race, spirituality and gender features that which American society has brought through its own origin of immigrants from vast and diverse backgrounds.

“11 de Septiembre de 1973 /September 11, 2001”

Place: University Wisconsin Green Bay Art Building, Room 407/Art Studio
Date: May 6, 2002

The idea behind this work originated from the obsession to explore cyclical images in their first stage. The fractal repetition of objects of seduction is the way I construct the meaning of my work.

Suddenly, the events of September 11 gave meaning to my exploration of cyclical images. With the terrorist attacks, the comfortable life, apparent safety and control enjoyed in this country changed in the most brutal and cruel way ever imagined.

On the fatal morning of September 11, 1973, the military’s takeover of Chile began with the aerial bombardment of the Moneda, the capital building of the Chilean government.

September 11 in the United States awakened images dormant in the collective unconsciousness of all the people of Chile. A sense of dark, sinister and sudden loss increases the human pain in the search for missing bodies. The body is the icon that remains hidden in the process of the search. Its “absence” refers to the materialistic life of the missing people. In the immediacy of the deepest feelings of those who have lost a loved one, or in the collective unconsciousness that also absorbs the human loss, the absence gets transformed.

Never is the meaning of country or nation, to which one belongs, more evident than when distance acts as the lens that divides each and every one of the memories…the scents… the events.

In the same way, that distance allows one to see and synthesize similarities and differences in relation to a personal and cultural death, even if one does not have the direct experience of looking for a missing person.

This exhibition does not pretend to homogenize specific reasons for these two similar events. Obviously, the causes and the historical context in which the military coup originated in Chile and the terrorist attacks in the United States are different. However, I believe this piece exhibits the undeniable connection between dates, images and one of the most violent ways in which death has meaning, these events of presumed dead.

“I Will Always Love You”

Place: Museo de Los Tajamares, Art Museum belonging to the cultural corporation of the Municipality of Providencia, Santiago, Chile
Date: November 6, 2000

“I Will Always Love You” is an installation consisting of four retro illuminated boxes containing and exhibiting slides of married couples, a six “bed-boxes”, that reproduce the nuptial bed, with small paper dolls in wedding dress on top. The light-boxes that, placed on the wall, form a horizontal line, wish to utilize and reproduce the comics and animation type of sequence, although in a more allusive than narrative sense.

The “bed-boxes” are placed on the floor covered with paper blond lace for cakes, that reproduce the brides extend wedding dress and/or the great nuptial bed. These white boxes also make a double reference, on the hand, they remind of the virginal innocence of an idealized “sleeping beauty’s” bed, and, on the other hand, they refer to the wedding cake that wishes to reproduce the same immaculate and white appearance of the untouched and unaltered. This double simulation wishes to refer the materials- and their characteristics (white, soft, untouched, impeccable, etc.)- that traditionally proportion the kitsch and glamour of the nuptial paraphernalia.

This work is based on the ritual ceremony of marriage as a public ceremony of a private or intimate space. The photographically mediated visuality does not only register the strictly protocolar sequences that compose and complete this ritual but also captures(in a revealing manner) the instants that go beyond the purity through which it pretends to legitimate the union celebrated in marriage as such. It exposes the constant desire that charges and underlies all gestures of complicity and reveals the intimate emotions that only belongs to the couples’ privacy.

The image freezes and contains the rigorous order of the ritual ceremony, and, at the same time, liberates and exhibits, as an unseen witness- a voyeur-, all the non-programmed and generally constrained gestures.

“Morose Delectation on Blue Roses”

Place: silos at Parque de Los Reyes, Santiago, Chile
Date: April 16, 1997
Audience: 300 spectators

Morose Delectation on Blue Roses is a multimedia performance developed and displayed by seven slide projection units (in simultaneous use), a video projection unit and a concrete music soundtrack. The different formats produce an audiovisual sequence lasting 15 minutes.

Delectación Morosa de Rosas Azules is a setting inspired by the concept of virginal passion. In other words, it is a feminine vision of veiled and unveiled desire, seduction abd purity. The images in the work subtly show and hide the female body. By doing so, the images thematize the female body’s capacity to host life. Religious images and the writings of saints who had mystical experiences are projected on to these female bodies. Abstinence and purity only make sense within an economy of accumulation for a final and infinite excess, sacredly violent in its intensity, as a “delight in little death.” This is the meaning of “Delectación Morosa”, a Christian term that designated a name for the voluntary renunciation of sexual experience by priests and religious lay people. It was a choice to remain celibate, a personal sacrifice, a small death that spring from one’s belief in the fullness of religious passion. 

The idea of ​​”Rosas Azules” or “blue roses” makes reference to something that cannot exist naturally.  Like the virginal experience in its constant courtship with human passion, the implicit contradiction is viewed through an idealistic and spiritual prism that longs to preserve purity.

Ironically, there are studies that compare these mystical experiences with a sexual orgasm, given the intensity of energy, focus and physical manifestations that end in the expulsion of fluids and ecstasy.

The silos of the Parque de Los Reyes is a public space that is at once both feminine and masculine. Its femininity is due to the virtual space of air between the two columns and its masculinity, due to the vertical, symbolically phallic construction of the two silos. The venue thus created an ideal setting for the display of this work and the exploration of its motifs.