Hologram, Performance, Manifesto, Polaroid lift, variable measures.
This work proposes the representation of selfies and self-portraits of the author, as autonomous objects with their own existence, which transmit various feelings and which, at the same time, generate multiple meanings. The work of the painter Magritte, “The Treachery of Images”, 1929 (the inspiration for this work), alludes to self-denial on the part of those who observe and those who create, and at the same time, it is a semantic game of deception, the that is observed is and is not a pipe, just as the portrait is and is not the person portrayed.
Representation is a paradox, it has an autonomous existence regardless of its relationships.
In the second instance, the work also assumes the self-portrait and its representation as an object of investigation, “The digital self” -a character that I use repeatedly in my set of artistic works- continues to navigate its existence and seeks new ways of relating, which are bio-secure, but at the same time ambiguous. She has memory, but she is fragile, she recites manifestos and gestures that are still human, she has memories of images from the past, which cannot be concretized in her original form; That is why, by means of analogue and virtual images, which are grouped together in the same place, she finds a safe space, which accommodates all these representations of her self.