A comprehensive solo exhibition of collages at The Recoleta Cultural Center in Buenos Aires,
comprising intimate and emotional maps that unveil past itineraries, memories and a sense of identity.
The XXI century introduced us to the age of liquidity and virtuality. Factual information surpasses contact with reality and the present moment. A chat at a café was replaced by texting and a face to face encounter with a skype meeting. We stopped being spectators to become users in a world where we live a transient reality. Inhabiting the 'non-place' that Marc Augé accurately defined as if we were passengers living on an airport, with a plane that has already taken off - the XXth century - and another one that just landed but this one is a new model that we are still trying to decipher.
In this exhibition, bOT reflects about an identity that is about to get extinguished in the anonymity of the global village. When everything solid vanishes, the artist performs a rescue operation to retrace the lines of her own territory and reality in the world. The place where she establishes herself and defines her homeland is affection and memory.
In Recyclean, collages are created with all those family pictures that one tends to discard - but at the same time are so hard to get rid of. Re-using the snapshots frozen in time and on paper from a past analogic era. At the same time, these are placed over manipulated cardboard invitations from past art exhibitions. Taking possession of an expressive field that is not her own, she plays a double role as an art consumer and producer, moving from contemplation to the creative act. It also acts as a door that unveils the artist's taste and itineraries inside the art world. However, what resonates the most is its materiality; those objects that were destined to have an ephemeral life and, for some reason, end up in a drawer or are left between the pages of a book, and become survivors from the past.
In One too many.. Pictures, bOT uses some remaining picture cutouts to trace and draw a constructive system, on which she adds strips of other chopped pictures creating a radial composition that seems almost mathematical. But they are based on her loved ones, trips and memories with them. This way, the artist assembles a personal cartography that reflects a universe of private and emotional constellations.
Throughout her multiple travels, art has always been her nationality and her passport. These works she exhibits are emotional maps that define her identity, artworks in which she recovers and repairs, through her art, a memory safe from oblivion.