2013. (whispering) Constellations


This diptych is composed of two video pieces, that compose a double spread. At the left, we find a texture that we cannot identify at first sight. We can see holes, with light coming through them, with a very slow movement of the camera, we can explore some kind of suface that remember perhaps a map, a score ... a text. A trace composed of holes, incisions, spaces and silences. An absence of words framed by a large white area.

Just next to this another page, framed identically. Another piece of paper seems quiet, waiting. It waits a curious approach, an intimate look. Almost imperceptibly, a new trace of writing, corresponding to the silenced words. New marks, new shadows to make clear the difficulty to erase the vers.


Aquest video està composat per dues peces de video, conformant una doble pàgina. A l'esuquerra, podem trobar una textura difícil d'identifcar a primera vista. Podem veure forats amb llum a través d'ells, amb un moviment de càmera molt lent, explorem una superfície que recorda tal vegada a un mapa, una partitura...un text. Un rastre composat d'orificis, d'incisions, d'espai en blanc i silencis. Una absència de paraules enmarcada una gran àrea blanca.

Just al costat d'aquesta, una nova pàgina, equadrada idènticament. Un altre troç de paper sembla tranquil, esperant. Espera un apropament curiós, una mirada més íntima. quansi impreceptiblement, un nou rastre d'escriptura, corresponent, recordant unes paraules silencioses. Noves marques, noves ombres que deixen clara la dificultat de borrar els versos.


Each word stays on the edge of indeterminacy, sounding by itself, by its materiality, performing the ambivalence that is inherent in its drawn mark. Refusing the primary function of language, erasing its form and frustrating the attempts of “reading” the page.  Diminishing the visual information in order to expand the spectator’s orientation towards the site considered art, towards abstraction.  Create a new dimension, a primary level of communication, where the intuition, the imaginary, the memories or the associations of the viewer, are crucial to finish the meaning of each piece.


The imaginary word affects the look, the eyes, creating thoughts about books, about reading, about time. Cracks opening up reflections in the everyday and opening up closed discourses. Incised in metal, the plates give us the ability to disable unidirectional interpretations about history and writing. Signs, marks, actions that enable  us to recover the breath and make use of a language capable of modify radically our life.

Etched steel plates and cotton thread
Installation in the Peltz Room Gallery, University of Birkbeck, London