untitled . managua . work in progress
We always believed in the possibility of violence. Over our property's wall, we placed a layer of cement with crashed glass bottles to hurt those who tried to cross our limits. I cover my body with a mix of sand, porcelain and shattered bottles to become an unbreakable perimeter. I'll lay over a mobile platform and I'lll exhibit myself in Managua's most crowded place: Gancho de Camino, at Mercado Oriental. I'll have witnesses, not spectators. Acknowledgements: Mitia Aranda, Arquitect. (Funding Pending).
samaria . ometepe island . 2014
I cover myself with charcoal, the same material I've used for years to draw self portraits. A middle aged woman and a girl wash the charcoal off my body at Samaria, one of the beaches of Ometepe Island, at Lake Nicaragua. This performative action was part of Altagracia Chamber Music Ensamble. Acknowledgements: Patricia Campos, Ileana, Ernesto Salmerón, FF Books.
la poza . 2014 . collaboration with ghislaine fremaux
The recent images of murdered women published by local newspapers, and the iconic photo of a torn corpse taken by Susan Meiselas at Cuesta del Plomo during the sandinista uprising, were important references for this project. For the 9th Nicaraguan Visual Arts Biennial, I performed this action at Cuesta del Plomo in collaboration with american artist Ghislaine Fremaux. The documentation shows 2 women. One is battered, the other, upright and sensual, watches and draws her decomposed body. Acknowledgements: Carlos Bravo and Ernesto Salmerón.
Trauma helps tragedy become a driving force. My body carries trans-generational trauma. I´ve buried both of my parents and watch over their graves. I think of them as definite recipients of their trauma. I´ve buried myself in an attempt to embody this trauma and face it.
tumba . piedra quemada, masaya, nicaragua . 2014