The French philosopher Pierre Nora explains the difference between memory and history. According to him, traditional memory has vanished: we are no longer capable ofremembering unconsciously. Instead, we accumulate fragments, images, and documents from the past, with the intention of having evidence of that time that is gone, but “we cannot know in advance what should be remembered” (Nora, 1989). Memory is a living system; it is in constant evolution. We deform, manipulate, and revive those old events, places and people. Nora’s understanding of memory explains my fascination with old documents: I collect and work with old family photographs, found images, books and nature elements to draw physical connections between memory, history, and identity.
Who were these people? Why are their photos on sale in remote vintage stores? What happened to them, to their families? Are they dead? Did they ever exist?
"28 Days" is a project by the artist Lara Mossler in which she invited me to explore my hormonal cycle. By following a guided meditation designed to help us look for a connection between the flow of our hormones and their influences on our feelings and ways of thinking, I produced 28 photo collages, one per day during a complete cycle, in response to the introspections that originated in the daily meditation.
In this project, I also explore the fictionalizing quality of memory by choosing women from those forgotten images, and by transposing them from their original environments to ambiguous territories located somewhere in between time and space. These hybrid compositions re-signify old memories by staging my personal understanding of womanhood, memory, death, and nature.