Variable dimensions; watercolor, tracing paper, pigments, photographic prints on paper, plaster, latex, soil, ceramic paste, marker and indian ink on paper, wool.
Taking as a starting point a set of technical drawings of the configuration of a house, the plans of its roof were taken as the preponderant element in the series of works to be developed.
The roof was temporarily alienated from its context and function, in order to enable new interpretations. The form was worked on in isolation with the help of different techniques. In each of the drawings, a unitary gesture is verifiable, repeated enough times to fulfill the form: in the spolvero, the holes were made individually, with a needle; in the watercolor, the signography of the roof corresponds to particular brushstrokes. In these drawings, the roof tile is represented as a multiplied gesture, the roof, in its totality, is the extension of the movement. The correspondence between body and roof becomes evident: house and body, both lie blanketed by the roof.
The link between roof and body is exacerbated through modular roof tiles, built on a human scale, using clay, with the help of thighs and fingers. In the act of building them, the tracing of the roof in the world and the positioning of the body facing it are determined synchronously. Part of the house’s plan is implemented, and its geography is linked to that of the body yhat builds it. The roof tile appears as if it is skin.
Taking the roof tile as a unit, earth bricks are made and arranged according to the roof configuration. All decisions made are driven by a relationship of dependency with the place, with its coordinates and on the scale of the one who makes them: the roof tiles are based on the leg; to fire the ceramic paste, a soenga is made on the land itself; the bricks are made from soil dug on the same location.
Subsequently, a latex and plater mold stems from the earth bricks. The mold serves as a guide for a spolvero that captures the specificities of each brick, its small orography. Clusters of dust, disoriented points in space, result from the spolvero. When using a grid as an intercessor element, points are converted into coordinates. Thus, a grid is manually created on wich the spolvero is applied. After determining the points, their union is made according to fluid lines, wich refer to an intrinsic image of the body, wich signifies it, while also lending itself to a root figure, something vegetal or calligraphical.
Parallel to the creation of the drawing, a blanket is woven in order to contrast the roof, external and hard, to a soft object that belongs to the inside of the house.
The blanket follows the same premises as the grid. By choosing a fabric with a simple structure, taffeta, a correlation is established between the drawn and the woven grid. Using wool thread, the blanket is filled with images like those in the drawing. Its positioning can be changed, except for the stitches that are sewn. This feature makes the image hybrid.
