In the last several years, I have been working mostly on postcolonial and environmental matters through the medium of film, interested in how to construct narratives that divert the conceptual binary oppositions of presence and absence, visibility and invisibility, memory and oblivion, the real and the fictional.
With this artistic research, I interrogate the haunted aspects of colonial and environmental entanglements with the means of moving images, involving living and dead memories. I intend to explore how filmic language, as a tool that generates and enables vision and representation, can engage with decolonial ecology searching to generate a visual vocabulary, enabling a language that challenges normative ways of seeing.
I will experiment possible ways of revealing invisible human and other-than-human presences, and blurring temporalities through diverse image-making techniques1. The development of a spectropoetical imagery based on analog and digital expanded film is at the heart of the research, aiming to produce a de-centering experience for the viewer, a shift in their perception.
My aim is to create a transforming viewing experience where a sensorial approach brings awareness to contemporary socio-political concerns and potentially, poetically contribute to trigger possible shifts.
Butterflies, dead and alive, will be at the center of the project.
1 I refer to “image-making“ as practices that create images in the viewer’s mind. This mostly implies still and moving images, sounds and writtings.