Angol
The process of making 104 ceramic pieces, using the head of a discarded mannequin as a reference, allowed the artist and the material to come into contact and create a relationship of coexistence and intimacy. The act of recycling clay, kneading and shaping it, painting and firing the pieces gave rise to reflections, perceptions, anxieties, and concerns about the place of emptiness and objectification occupied by human beings, alongside objects, in capitalist society. While people are emptied, objectified, and lose their identity, objects are humanized and seem to come to life. Both compete for the same space, fight each other as equals, mix, and alternate the place they occupy according to the value assigned to them. Thus, through the repetition of constructive acts and the reinterpretation of discarded objects, this artistic and poetic research proposes a new perspective and a new place for what has become mere waste and which, in this way, now shares a time of production that has a different logic-unlike the logic of capitalism-and constitutes a time of construction, reflection, possibility, reinterpretation, and contact.
