Not Random Art (clone) | Page 12

Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?

Yes, I think there are great works of art that have influenced and inspired me. The works of surrealist women artists, such as: Leonora Carrigton, Remedios Varo, Frida Kahlo ... the cinema of: Maya Deren, Agnes Vardá, Igmar Bergman ... the creations of Pina Bauch, the music of: Clara Rockmore ... the knowledge of Madame Blavatsky, the literature of Clarise Lispector. The interpretation of the actrees like: Gena Rowlands and Anna Karenina.

I love reading biographies and one of the first books I read was the biography of Rita Hayworth, I am always interested in knowing the archetype of the femme fatale in cinema. Another of the first books I read was Wuthering Heights of Emily Brontë, one of my mother's favorite books. In recent years I have also been interested in philosophical research from various points of view such as: psychomagic, tarot, hypnosis, Buddhism, Sufi, shamanism, etc ... I guess I'm a daughter of this time with a strange mixture and many references of different types.

Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.

I think the starting point was to be aware that I was capable of being a creator of my own reality, through my experiences, memories, desires, etc ... and to express this spirit, this thought in the work.

I love thinking and articulating my work around the idea of ​​time (past-present-future). I think that memory is not something rigid, it is selective, therefore memory is constantly changing and I believe that we are continually reminding ourselves of our own history to understand and look for meaning in life.

For example, in the project my (No) Wedding. Exorcisms to wedding dresses. Emerge as a need to give vent to a very deep pulsation of lack of love that is managed somewhere in the timeline of my story but coincides with an attempt to marry my partner with I was for 11 years and at the same time we do not. So we separated, our love story end and at that time it coincided that a friend on my 31st birthday gave me her first wedding dress and this dress inhabited my home like a ghost. One morning I will decide to put on my dress and make a celebration of improvised self-love, understanding that there is no time in the unconscious and that there are poetic actions that transform you.

Later, while I was viewing the images, I remembered the portraits of my mother and my grandmothers with her dresses and that one of them died almost at the age when I was wearing that wedding dress and asked on social networks: Will someone remember? my portrait of (No) Wedding?

Other projects are poetic rituals to transgress my outdated beliefs that hurt me and did not allow me to open my eyes to other ways of perceiving reality: Rituals to the transfiguration of the gaze, The circle of blood or the work – performance, Blue Visible Spectrum (a work that talks about the ability to relate colors to moods and through this work / color transited the sadness towards a certain peace, it was a choreography, interactive from my home, my bed and it was a powerful experience to open the doors of my house and share this creation after it was presented in an art gallery in CDMX and the experience was transformed). I like to feel like certain proposals that I continue to work with over time have a life of their own and each time they are revived they are transformed even though I maintain a structure and an essence I allow myself to modoficate them (since even I am not the same) and I leave an open part to play with the public that arrives that day.

What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

I am very multidisciplinary and I love playing between the limits of the disciplines. Actually when I start working on an idea, I want to tell the experiment from different points of view. And so the idea is taking shape and body according to the content. For example, the project Imitation of life. Water, Fire, Earth, Air and We are star dust. I started writing it as a stage creation script, I could never produce it that way. Then I started working element by element and I started with water, while I was researching, I made a video art that ended up calling: Nahui Olin (homage to the Mexican artist) was traveling in a Cenote in Mexico with some friends from childhood, I had a dream where we were mermaids and lived under water. The next day I mentioned it at breakfast and everything happened, someone had an underwater camera and we played in a cenote in full sun of the day, with the freedom to swim naked in the turquoise waters, from there I rescued some moments that moved me and I started Self-taught way to edit this video. Then I started doing this project in episodes and water was born as a performance. It took me to complete the 5 episodes about 3 years. And parts of this series of performances was presented partially in different festivals in CDMX, Monterrey, Zacatecas, NY and France. It was beautiful to do this series and feel how the different geographies interpreted and reformulated the works. I think the basis is that I look for an answer to a question and that inspires me to continue researching in this way.