Artworks

[ Still from video composition, Incubate]

Incubate is an interactive video installation and projection that uses sensors and layered animations to connect image-based narratives.

The installation consists of five white cushions equipped with micro-switches that are connected to a computer. Additionally, there are thirty short looped videos varying from 45 seconds to 3 minutes in duration and 15 still images, all of variable dimensions.

When participants sit on the cushions, these trigger random video animations that are layered over still images and move from left to right on a large screen displayed in the center of the room. Each time a participant sits on a pillow, they activate a signal that displays layers, multiplies, compounds, and changes the visual content and overall screen composition.

The projected images, captured from everyday places, trips, and studio settings, revolve around the egg, a primary subject.

In Incubate and Egg(o)ness, I explored possibilities for including the viewer's individual and group interaction within the installation to complete the experience of the artwork.

An analog/digital interface connects a microphone and signals from micro-switches to a computer. The devices receive the inputs and operate through a simple application, connected with the physical installation.

Still from video composition

Still from video composition

Still from video composition

[ Still from video composition, Incubate]

Incubate is an interactive video installation and projection that uses sensors and layered animations to connect image-based narratives.

The installation consists of five white cushions equipped with micro-switches that are connected to a computer. Additionally, there are thirty short looped videos varying from 45 seconds to 3 minutes in duration and 15 still images, all of variable dimensions.

When participants sit on the cushions, these trigger random video animations that are layered over still images and move from left to right on a large screen displayed in the center of the room. Each time a participant sits on a pillow, they activate a signal that displays layers, multiplies, compounds, and changes the visual content and overall screen composition.

The projected images, captured from everyday places, trips, and studio settings, revolve around the egg, a primary subject.

In Incubate and Egg(o)ness, I explored possibilities for including the viewer's individual and group interaction within the installation to complete the experience of the artwork.

An analog/digital interface connects a microphone and signals from micro-switches to a computer. The devices receive the inputs and operate through a simple application, connected with the physical installation.

Installation view

Installation view: Egg(0)ness

Egg(0)ness is an interactive sound installation that explores the relationship between language and images, specifically at the level of the sentence as a grammatical unit of meaning.

The installation consists of three stands, two synthetic eggs containing speakers, a microphone, a CPU, a customized mp3 player application, and 240 independent mp3 files. The dimensions of the installation are variable.

The concept behind Egg(0)ness is that a sentence is the first grammar unit of meaning. To create the installation, I collected 250 sentences from a range of sources including TV, newspapers, street conversations, books, radio, and emails. These sentences were then reproduced and recorded by a text-to-speech digital synthesizer program.

When a participant speaks into the microphone, the software randomly selects a sentence from the library and plays it through the two eggs. The stands with the eggs are close to each other, but the microphone is a few steps away. The voice of the eggs is very soft and monotonous, and doesn't give the speaker enough time to talk into the microphone and run to hear the sentences from the eggs. Often, the spectator needs someone else to speak into the microphone and to stand near the eggs to make an effort to understand and listen to the unison eggs.

The relationship between volume and distance makes it necessary for multiple people to simultaneously participate in the expectancy of each phrase. The installation objects and spatial design, along with the customized mp3 player, speakers, and microphone, work together to create an immersive and interactive experience for participants.

Installation view

Wood chair with metal and wood armature, video projector and video player, and 5-minute video and sound loop. Variable dimensions.

The self-portrait is a video projection about aiming and not succeeding in representing the self from outside the self. It consists of an old country chair and a video projector mounted on a rough metal and wood armature. A video is projected over the chair like a pillow. The projection shows images of the artist watching herself and washing her face using a mirror as a fountain and a combination of still photos from objects and landscapes referred to as personal “likes,” as if they extend what we might consider and perhaps even sense as identity.

The Self-portrait unfolds the representation of the self by combining a particular object, a rough wooden family heirloom chair, and time-based media. While the digital elements flow into their own loop, the chair remains a container with a static presence of empty space. The video shows associations of images and personal metaphors. The references connect the significance of blue in Zen culture, where blue represents qualities related to air and water (shapeless, invisible, insipid elements), an immersive void that everything fills and wets. Describing a spiritual quality through a material behavior, the blue color was translated to water and combined with a mirror. These two elements are connected through washing as a way to submerge to emerge, the impossibility of looking into the other and mysterious identity of consciousness, and the impossibility of disposing of the subjective self from within the self.

(Still from video installation)

Three white chairs making up a circle. Three video projectors and video players. Three different videos looped in 2-minute durations.

Three white chairs make up a circle in a dark room. There is a video projector on each of them. The videos show series of pictures of real objects, things, and spaces organized in pairs of transitions. Each sequence is different for each chair. At the end of every sequence, we can see the same action of getting clean/to become dirty edited in positive and negative modes. The spectator could answer to the chair’s functionality, and receive the projected image as a beam over her/his body. In this way, the spectator becomes the image support, and there he is able to play in a freeway and transform the projected image by his movements. When the spectator is not there we can see the images projected on the chair’s emptiness.

The image related to communication, through potentiality and limits. Technologies contribute to the possibility of communication, and maybe they could bring us closer, show us the possibilities and the hopes of building a space where to listen and where to talk. The view’s vanishing is a semantic game between image, tact, link, communication, vanishing, remoteness, and limit. The image –one image- could be all of them or even none. It appears in others’ bodies, emerges, in intimacy, in the hands’ emptiness. The use of hands a metaphor for the power of acting, talking, pointing, and touching. The strategy of the view as images of the reality, cutting on urban, domestic, and private spaces, and this process referring to the collector’s or the fetishist’s passionate attitudes, the one who films himself at home and shows it online. Is in the emptiness of solitude the fateful presence of distance? Like a little present, the image appears. We lose it. The present desire is always there, there is not even a trace, but just the untouchable beings, the fragile space of just a moment to forget between memory and permanent obscurity, between the thing and the concept.

Color photography and text mounted on round glass with hardware

Each circle is 25 1/2" diameter x 1/2" thick.

Magnifying Glass Game is a project about cultural representation and circulation. In this piece from 1999, I explored how collages of high school classroom instructional aides and textbooks about chemistry, physics, biology, grammar, and history could be reframed to modify one's reading through fragmentation of the information. Once the collages were finished, I introduced a giant magnifying glass apparatus to focus on the interface between photography and information. I approached the idea of reframing the fragments of information in the collages through the action of reading. The presence of the magnifying glass became the metaphor for my thoughts about the presence of the shared meaningful data that frames the reading and understanding of exploring the world from a local and focal subjective point of view.

The magnifying glass and the lens of the photo camera froze the relationship between fragmentation and pointing to locate meaning, sizing down while magnifying. The re-configurative aspects of collage and writing linked exploring, reading, and representing.

In addition to the two-color images of the magnifying glass against a building and the text next to the image, 6 collages and a photography series were integrated into a creative essay for the Argentinean magazine Akiut.

Photo film pattern on the wall, site-specific configuration, and a brief set of instructions.

Body abstractions are site-specific pattern configurations, Pantone color adhesive film cut-out shapes, and instructions.

This is the set of instructions for creating this piece and those that follow:

Start of the art piece - arrive at the location and select a wall or surface for the artwork to emerge.

Use the set of basic shapes and colors (colors range from the human body to the image, which shows sets closer to those selected by the author and can be customized).

Arrange them to improvise patterns that feel right at that moment, as is in this unique way.

The layout shall follow the notation to show its composition rhythm; listen within.

These salt drawings were part of my exploration of the ephemeral work I was making. At an abandoned warehouse, I used salt and physical movements as the primary material to draw in time and space about my body, marking its presence in space.

We Weren’t Meant for the Same Paths is a public art project focusing on the Argentine economic crisis. It involves performances, graphic interventions in public transportation services, and essays published in the city of Cordoba’s newspaper. 

We worked as a collective of sixteen artists to explore social issues related to Argentina’s economic and social crisis in 2001. Over a year, the collective worked together to develop concepts and strategies for a project around the public transportation system. The project included performances and graphic interventions to prompt the public to question their perception of private and public spaces. Daily performances were conducted in public buses, showcasing behaviors typically considered private, such as someone doing their laundry or offering free manicure services. Regular passengers of these urban bus lines were invited to participate in these events, which provided a performance experience. Through these performances, people could grasp the ideas behind the project, fostering a rethink of the political and poetic aspects of our individual lives within the collective context of society.

A collaborative project by Re-Colectivo: Alejandra Bredeston, Alejandro Maiolo, Azul Ceballos, Graciela Rasgido, Jorge Díaz, Liliana di Negro, Lucas Di Pascuale, Maurício Dias & Walter Riedweg, Marcilio Braz, Magui Lucero, Sandra Mutal, Sara Carpio.

Paltas is a photo mini-essay about this fruit in various contexts, exploring color and visual language.

Primary backgrounds and polarization explore the image as a surface about vision, feeling, and intuition. The delicate shifting relation of meaning production, front and back, subjects of unconscious processes, unit, unity, structure, and gap. This video belongs to a series of photographs and graphics exploring these ideas in digital and print formats.

Generative video and sound. Large scale projection.