ESPEJOS
2019
Due to its physical qualities, obsidian was the most important raw material for ancient Mesoamericans. To this day, obsidian mirrors represent an important source of income in Teotihuacán and La Sierra de las Navas, being one of the best-selling products.
The simplicity of their round shape and the material's brightness make it one of the most representative insignia of pre-Hispanic spirituality, materiality, and worldview. Poetically, obsidian mirrors have a suitable metaphor for images; they reflect the observer and the object at the same time.
This exercise examines the methodology in which these objects are produced: medium-sized stones are extracted and then subjected to a punching process that results in cylindrical pieces, which are lapped later to obtain around fifteen mirrors.
For this work, Ana works with the remains and the excess of the extraction process so as to reflect on the automatization of the procedure.
In the form of a sculptural installation, ESPEJOS is a series of hollow obsidian cylinders disposed of in the space modularly, allowing different combinations to create architectural space. The methodology of the installation seeks to alter a serial production process to examine the possibility and scope of reconfiguration of the form, but not the matter.
The simplicity of their round shape and the material's brightness make it one of the most representative insignia of pre-Hispanic spirituality, materiality, and worldview. Poetically, obsidian mirrors have a suitable metaphor for images; they reflect the observer and the object at the same time.
This exercise examines the methodology in which these objects are produced: medium-sized stones are extracted and then subjected to a punching process that results in cylindrical pieces, which are lapped later to obtain around fifteen mirrors.
For this work, Ana works with the remains and the excess of the extraction process so as to reflect on the automatization of the procedure.
In the form of a sculptural installation, ESPEJOS is a series of hollow obsidian cylinders disposed of in the space modularly, allowing different combinations to create architectural space. The methodology of the installation seeks to alter a serial production process to examine the possibility and scope of reconfiguration of the form, but not the matter.