Equally relevant in her practice are the protocols she activates when it comes to constructing her pieces: subjecting them to a variety of temperatures and humidity conditions, allowing light to shine on them, enabling oxidation processes that alter their surfaces, cutting, stripping or piercing them, baking and burning materials or keeping them buried for specific periods of time. An approach that strains the limits of the materials employed in the works (papers, fabrics, clays, waxes, plasters…), which in turn refers to the techniques of an archaeologist and the processes of reversing the effects caused by atmospheric conditions and the passing of time. As the text produced in the context of this exhibition states, “the artist establishes times and mechanics, watching over, rectifying – in short – undergoing a slow, unpredictable ritual […] we know that behind each work there is a previous invisible yet active biological life.”
Artium Museoa
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