Sobre(in)visible, 2021
Black obsidian, car cover, 
Photos encapsulated in resin. 

Ana links her research on the obsidian industry in the Sierra de las Navajas (Hidalgo, MX) with an anxiety 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, Ana produces a series of sculptures conceived as handcrafted replicas of auto parts carved in obsidian, which she understands as an ironic gesture that suggests the re-signification of the sacred, through a materiality that connects the past with the present, to later speculate on the future.

Ana has built a photographic archive that informs an ongoing investigation, which 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.

Ana seeks to get involved in contingent production methodologies, with the sensitive capacity to respond to an innate need to provoke leaks that allow her to relate to different objects, techniques and materials, and from there, intertwine concepts and ideas through a suggestive aesthetic that proposes an alternative reading of what remains supervisible within a common place.