My body as the principle of my order
Wednesday, 19 March 2014 18:29
Written by Ana Laura González Herrera
For me, sculptural space achieves ontological possibilities, in other words, it is a phenomenological and expansive space. Where aesthesis, memory, sensitive matter and experience make one think and experience it. It may be obvious or become lost in the virtual or “nothingness” or chaos, but it is always in movement. To gain access to this I have resorted, among other things, to the resignification of the body. Which introduced me to the subject of female identity, which in turn led me to re-consider the question: who constitutes this body? by extending the sense of location (in time and matter) and of individual and social recognition.
The female identity, as a concept, is a complex relationship between the unattainable
female image, the possible self-construction of herself and links with the world. What has interested me about this has been exploring and positing the identification of social ideals and prototypes relating to the female sex, with the aim of deconstructing certain parameters created throughout history that build part of the identity of a person in order to construct others from self-awareness.
My work hovers between the choice of my body as the principle of my order (my own intimate space) and as a starting point for venturing outside (surroundings and social sphere). The extension of this, of my body, leads me to think about and reflect on other men and women, femininity, personal identity, sexuality and everyday life, among other aspects. And to intrinsically link it to sculptural space. In some cases, I use metonymy, transferring my body to the object as a representative of myself. In others, I work using the words of all of those who inhabit shared spaces and with those that participate as signs of what exists in people’s everyday lives. Their use makes us be and exist within a social structure and in our self-identification. I also use matter and material, which work as symbolic conductors and induce a tactile sensation through sensitive memory. I tend to use embroidery on fabric, plaster, wax, dyes and light, which are soft, rigid and malleable organic materials.
For me, sculptural space achieves ontological possibilities, in other words, it is a phenomenological and expansive space. Where aesthesis, memory, sensitive matter and experience make one think and experience it. It may be obvious or become lost in the virtual or “nothingness” or chaos, but it is always in movement. To gain access to this I have resorted, among other things, to the resignification of the body. Which introduced me to the subject of female identity, which in turn led me to re-consider the question: who constitutes this body? by extending the sense of location (in time and matter) and of individual and social recognition.
The female identity, as a concept, is a complex relationship between the unattainable
female image, the possible self-construction of herself and links with the world. What has interested me about this has been exploring and positing the identification of social ideals and prototypes relating to the female sex, with the aim of deconstructing certain parameters created throughout history that build part of the identity of a person in order to construct others from self-awareness.
My work hovers between the choice of my body as the principle of my order (my own intimate space) and as a starting point for venturing outside (surroundings and social sphere). The extension of this, of my body, leads me to think about and reflect on other men and women, femininity, personal identity, sexuality and everyday life, among other aspects. And to intrinsically link it to sculptural space. In some cases, I use metonymy, transferring my body to the object as a representative of myself. In others, I work using the words of all of those who inhabit shared spaces and with those that participate as signs of what exists in people’s everyday lives. Their use makes us be and exist within a social structure and in our self-identification. I also use matter and material, which work as symbolic conductors and induce a tactile sensation through sensitive memory. I tend to use embroidery on fabric, plaster, wax, dyes and light, which are soft, rigid and malleable organic materials.