These are two works, Untitled (4 artificios) and 4 artificios, that unfold as twin pieces. Using the same procedures but starting from scratch, the works interrogate the nature of the same and the different.

Dictionaries, sculptures, world dances – many of such registers that archive knowledge rely on the idea that there is a straightforward, and possibly authentic, relationship between meaning and expression, between what is background and surface, between archaeology and semiotics, in a word: between what we think and feel and how that is shown to others. Untitled (4 artificios) / 4 artificios interrogates such assumptions by exploring the possibilities that emerge from the manipulation of objets trouvé or found materials.

These pieces challenge the limits of iterability by treating movements, derived from words, as things that can be passed on from one to the other and decouple the ideas of embodiment and subjectivity.

Nothing is lost in these transformations if we stick faithfully to the surface.

These are two works, Untitled (4 artificios) and 4 artificios, that unfold as twin pieces. Using the same procedures but starting from scratch, the works interrogate the nature of the same and the different.

Dictionaries, sculptures, world dances – many of such registers that archive knowledge rely on the idea that there is a straightforward, and possibly authentic, relationship between meaning and expression, between what is background and surface, between archaeology and semiotics, in a word: between what we think and feel and how that is shown to others. Untitled (4 artificios) / 4 artificios interrogates such assumptions by exploring the possibilities that emerge from the manipulation of objets trouvé or found materials.

These pieces challenge the limits of iterability by treating movements, derived from words, as things that can be passed on from one to the other and decouple the ideas of embodiment and subjectivity.

Nothing is lost in these transformations if we stick faithfully to the surface.