Brazilian writer Guimarães Rosa wrote in his book Grande Sertão: Veredas: “that Journey only lasted a huge bit. The real is not in leaving or arriving, it presents itself in the middle of the Journey.” Huge moment or huge bit – impressive how things can change scale and importance so quickly.
I started collecting what resonates, like a bird that only chooses what sparks. That’s the strategy I am taking: I am building a new home. I am searching for a new idea of belonging. Rarely is a journey a straight line. More frequently, it takes the shape of an entanglement, a chaotic weaving or a cat’s cradle. Building demands time and work – it is a process.
Here I present two journeys of different scales – personal and collective, close and general. I am interested in how one journey can echo different objects and aspects of everyday life.
These pieces are also a series of attempts to make sense of a place, culture, and system. How can something as small as a passport be so defining of someone’s life experience?
Because of colonization, the concept of the Tropical crossed the ocean and set its roots. Nowadays, it is domesticated, packed, sealed, commodified. When some fruits have a stamp as I have on my passport, Tropical seems to be more a symptom than a place – like Carmen Miranda’s head full of fruits or exported palm trees creating the postcard landscape of Los Angeles.
Weaving these bits is how this show was and keeps being thought. Recognizing echos and adding them to this web.
@ Mint Gallery, CalArts, Valencia/USA
25-29 January, 2022
ninho, 2022. installation, variable sizes.
untitled (folders), 2022. paper folders and different branches, variable dimensions.
passport, 2022. books, 11x8cm
untitled, 2022, 3″ video.