Momoroom, Mexico City

sobre(in)visible links research on the obsidian industry in the Sierra de las Navajas (Hidalgo, MX) with an impulse to portray different aspects of automobiles, always inserted in detailed frames that suggest a reading of the machine as an identity prosthesis.  Motivated by the challenge of confronting/amalgamating two profoundly complex and historically iconic cultural symbols, this a series of sculptures conceived as handcrafted replicas of auto parts carved in obsidian, as an ironic gesture that suggests the re-signification of the sacred through materiality that connects the past with the present, to later speculate on the future.

Moreover, a photographic archive informs an ongoing investigation that revolves around a moribund and obsolete automotive industry, which, at the same time, continues to be a reflection of a stratified social order composed of several layers that refer to what is explicit/implicit in the gaze.

Being involved in contingent production methodologies, with the sensitive capacity to respond to an innate need to provoke leaks allowing to relate to different objects, techniques, and materials and, from there, intertwined concepts and ideas through a suggestive aesthetic that proposes an alternative reading of what remains super visible within a commonplace.