Rosario
Rosario was made in La Paz, Bolivia as an open-ended narrative piece. It is loosely based around two women I met and collaborated with: an indigenous house maid and her mestizo (mixed indigenous-European descent) daughter and the wider socio-cultural landscapes they represent in a rapidly changing country.
As someone of mixed decent myself (Bolivian/mestizo – NZ /European) I am familiar with the complexities of cultural identity and Bolivia’s vibrant socio-cultural landscape.
In particular, Rosario is interested in the changing and unstable kaleidoscope of faith/religion, tradition, westernization and modernity.
From the many nuances that arise from my work in relation to ‘self’ and the ‘other’, what I really wanted to explre with Rosario are notions of myth and the fantastical in relation to identity.
Lens-based artists such as Gregory Crewdson and Cindy Sherman have both negotiated this sense of fatasticality in the mundane to subvert our encounter with images of the everyday. Through a sort of psychological autopsy of 'herself', Sherman’s Untitled Film Stills (1977-1980) suggest that the 'everyday' occurrence is far from simplistic or ordinary, but is in fact a space of ongoing rehearsal for the construction of our identities.
What I find most intriguing in relation to this work is the potential to visualize the fantastical in the real by repositioning our perspective within changing environments. In relation to my work in general, a sense of the fantastical is not produced autonomously or as some sort of departure from the real but is in fact a reorientation of the real. The very process of reorientation allows for the real and the imaginary to occupy the same plane of existence: as our perception curves, they simply rise and fall in visibility.
PLEASE NOTE: the work is only 2m10s but on the vimeo link provided it is looped to play through twice. It's like this to show how the work operates as a loop - as it is intended to be installed this way. Thank you!
As someone of mixed decent myself (Bolivian/mestizo – NZ /European) I am familiar with the complexities of cultural identity and Bolivia’s vibrant socio-cultural landscape.
In particular, Rosario is interested in the changing and unstable kaleidoscope of faith/religion, tradition, westernization and modernity.
From the many nuances that arise from my work in relation to ‘self’ and the ‘other’, what I really wanted to explre with Rosario are notions of myth and the fantastical in relation to identity.
Lens-based artists such as Gregory Crewdson and Cindy Sherman have both negotiated this sense of fatasticality in the mundane to subvert our encounter with images of the everyday. Through a sort of psychological autopsy of 'herself', Sherman’s Untitled Film Stills (1977-1980) suggest that the 'everyday' occurrence is far from simplistic or ordinary, but is in fact a space of ongoing rehearsal for the construction of our identities.
What I find most intriguing in relation to this work is the potential to visualize the fantastical in the real by repositioning our perspective within changing environments. In relation to my work in general, a sense of the fantastical is not produced autonomously or as some sort of departure from the real but is in fact a reorientation of the real. The very process of reorientation allows for the real and the imaginary to occupy the same plane of existence: as our perception curves, they simply rise and fall in visibility.
PLEASE NOTE: the work is only 2m10s but on the vimeo link provided it is looped to play through twice. It's like this to show how the work operates as a loop - as it is intended to be installed this way. Thank you!
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