VIDEO INSTALLATIONS

Screen Shapes Series
Video projections on shapes cut out on plasma screens.

Upon entering the museum we find a series of installations placed together that interact with each other with sounds, images, projected videos and sculptures. All at the same time. An intentional variegation of information that forces us to use all our senses and still gives the feeling that we miss information. The sounds and the lights force us to move our heads from one side to the other, looking for the video images that are activated and deactivated intercalary. We never manage to capture the content of the piece as whole. It is the clear example of the new interdisciplinary scenario, which expands physically and expands the senses necessary in the new vision.
At first glance we only recognize people who speak loudly, or even shout, people who defend their ideas with a certain degree of tension and different points of view. When an installation projects video in one area of the room, the others can be left in a white light and without sound. In those installations, which are now in mute, the white light projects on the wall, the variety of perfectly contrasted shadows, of the moving element placed between the projector and the wall.
The disconsolate screams, angry or arrogant, according to the video that correspond, serve as a claim to our eyes, but we will continue having the need to continue looking at the shadows that are created in the video information, which will only be interrupted according to the intensity of the sonorous speech that is in another focus of interest. During the projections we also have an element of distraction, although in this case, instead of the shadow, it is the light that will mislead the spectator. Light that results from the reflection on the shape and that bounces on the wall.

The viewer is positioned as an active subject, where time allows him not only to look, but also to imagine, to think, to construct, even to metaphorically create what he is looking at his attempt to unite and form a whole to give meaning to what he sees. Sign and symbols are mixed; mixed signs of fear or suffering, such as the almost tearful cries of one of the protagonists, or people fleeing en masse, with symbols that speak of politics and borders between countries. Definitive meanings, which in this case aim to directly highlight the deception caused by new technologies. To get this, the discourses that come out of the projected videos are focusing different point of view all around the refugee problem. On one hand, images of the Brexit defenders who argue the problems of accumulating undocumented immigrants; on the other hand Donald Trump appears -from images taken even before being president of The United States- lists the mistakes that Angela Merkel made in facilitating the entry of refugees from Syria; and in a third installation, we are placed in front of some residents of Greece who complain with tears about the new visitors, who settle in their lands and make their lives less comfortable than it was before.
But form the beginning the intention of these installations is to make the viewer not aware of who suffers on the projected video, the narrator or the person that comes out in the narrative, even if they have the right to suffer.

To create such confusion, it was necessary to “make beautiful the sinister”. For this reason, transparent figures were placed between the projector and the wall on which it was projected, creating an exaggeratedly beautiful group of lights that immediately captures the viewer’s attention, without realizing that it is really about silhouettes of children, famines and exiles, images that represent having been cut out of the same plasma of the television. A confusion between reality and fiction, an image almost unnoticed when presented together with the sensorial impact that accompanies it. As if it were a metaphor of that sieve that is the screen of the computer or our televisions, which sweeten a very raw reality, which is presented to us every day in the news, with the brightness that the interface itself emits. A beauty that vanishes only when the screams of torment sounds again in another projection that is interspersed to make us twist the neck, without even finish seeing the content of the video that we have begun to see.