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Home, Sweet Home, video performance.
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Explores personal experiences, shedding light on how identity, memory, and resilience are sustained throughout this journey. This video installation employs a visual poetics that integrates organic materials and symbolic gestures, urging a re-examination of the concept of home beyond geographical limitations. It suggests a decolonial perspective that recognizes the body as a profound territory of knowledge, emotion, and belonging.
​In the video, three symbolic pieces represent three distinct houses: phases of an inner journey that correspond to identity, memory, and resilience.
These phases form a cyclical process that recognizes the body as the ultimate dwelling place.
Home transcends its mere physical location on a map and becomes a continuous act of care: a refuge where one can be sustained and nourished. For migrants, home evolves from a static place to an inner landscape carried within the body. It acquires an ephemeral quality, becoming a house woven from memories, skin, and the absences of what was left behind.
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Ultimately, Home, Sweet Home offers an intimate and embodied reflection on migration, displacement, and the search for belonging. It portrays the body as a sanctuary and vehicle for memory, capable of preserving identity amidst constant movement. Rootedness is no longer tied to physical space, but arises from the act of carrying one's inner home wherever life takes them.
On the move, video performance
The masked figure becomes a vessel of overlapping gestures, repeated movements and fragmented time. The mask conceals identity, but through movement something deeper is revealed: the emotional choreography of the self. The emotional choreography of being, the blurring, the bending, the shifting... all speak to the complexity of how we inhabit our bodies and navigate our inner worlds. “On the Move” is not only physical movement, but also emotional, psychological and symbolic.
Performance the desire.
​Composing my clothes is a simplification of closet, why should I worry about what part of the body I discover? Why is one part worse than another? the body and the mind are an instrument through which the artist expresses his inner message of beauty, the body is beautiful, it is authentic, it is true, unlimited, it should not provoke horror but reverence, that is the difference between art and vulgarity. Based on the work Eroticism and transgression in the work ¨el delirio de las monjas muertas¨ by Juan Antonio Roda. I appropriated the work in a public space in a street of Bogota, during several hours Bogota-Colombia 2006.
The spectres allow the spectator to go back and forth in time. To go to places and times that, although they give the simple impression of being in the past, at the same time relate to the present. Therefore, with this series Roda imposes a challenge in which he forces us to evoke these traces in order to understand a contemporary work of art. Thus, past and present are connected in a singular way, which leads to an inquiry into our connections with Christian conceptions and customs of earlier times.
The work of Roda is a play with the limits of good and evil, of the sacred and the profane, of language (verbal and visual) and of time.
To do this, Roda uses metaphor, which in itself is a transgressive language game, as it violates the order of the structure of language and the limit of the signifying space. Analysis Aline Miklos
