IndiaSensations
INSTALLATION, PHOTOGRAPHY, PAINTING, SCULPTURE, ACCESSIBLE ART
IndiaSensations collects the sensations and feelings experienced on a trip to India.
With this exhibition , she wanted to invite the viewer to notice their senses. A smell, see , hear and touch to feel the nuances of each work.
During the past year, she has worked with projects aimed at art accessible. Therefore, she wanted to continue in the same line and that this exposure exceeds the barriers of people with special needs , relying on the inclusive art.
Combining sculptures , paintings , sound , smell and installative matérico- ( for the viewer is immersed in a wide range of sensations experienced in India) , analyzes the status of women in this country and the caste system . For which she has created 12 accessible works that challenge some elements of our own culture.
Social injustices of both continents are active by selfishness and manipulation of the wealthy , socially, politically or economically . On the other hand , the situation of women in India is bleak . The subjugation of women in this country is spoiled by tradition , reducing them to serve their families or husbands. A confines patriarchy at home housework and child rearing . This has made him question the Western culture where patriarchy still existing in society also . Hence the abuses against women and in many cases the submission and continuous observation of women as sexual merchandise or pure discrimination based on , among many other examples wages.
From their perspective of Western women , she wanted to question the role of women in society and how, through old ” and outdated ” ways women live in different continents ” submissively , not considered equal .” He has also noticed the caste system, ” a social organization based on membership in a social group from birth to death, in which the person takes , accepts , swallow what has been assigned and used to everything that follows equally unfair. So that nothing changes .
She wanted to promote inclusive art, because for her , art is like a gem, a precious diamond to be polished a lot and that each person perceives in a unique way , personal , and not transferable . ” That is the reason that led her to break her own mental barriers and allow the public to touch the works ” end this exclusivist vision of art , with the aura of untouchable. He wanted to make this project a sense , a reflection that will inevitably personnel.
She takes over a year experimenting on how to design their works to be accessible to a phase would begin in India. Create not only watching, but considering that the works are palpated , heard or smelled . That the essence of the senses is translated into the artistic work, that thus everyone arrives.
Western culture and Indian converge well in a mixture of contrasts , traditions and sensory differences that invite the viewer to live a critical and sensory experience.
PREDESTINED ROAD
The floor , filled with sand , marks a unique way to go in the room. This way , the viewer variable , in order to create new paths , new paths outside the established , will take us through the surface to a ranguli ; traditionally a drawing designed by Hindu women . The work aims to call the interaction of the viewer by changing the marking, predetermined path for all Hindus from birth ; especially women.
RANGOLI
Traditional Indian painting created by women at the entrances of their homes to fill the spaces of prosperity. It takes place in the “Diwali ” ; the festival of lights. The work aims on the one hand, referring to the rituals and beliefs of India, on the other, give importance to the creative work of the Indian woman.
ONE THOUGHT
This tree has no branches, it does not grow up, but down. It has branches formed by lead funnels inward, canceling the evolution. Each branch is a funnel, through which we all must bear if we want to be part of this society. It is an allegory of the single thought, annulment of the different, the imposition of structural values that impede the development of the person.
Dimensions: 36 x 36 x 36 cm.
Mixed technique
CLASS INTERESTS
This touch piece invites the viewer to feel the interests of different social classes. Make critical and mentions that if we open our senses, we arrive at social understanding ; if we break social barriers and we combine these interests, we reach the end of the war.
This piece refers to another phrase from Ghandi:”The real social progress is not to increase the requirements, but reduce them voluntarily ; but this requires humility. ”
Dimensions: 84 x 45 x 5’5 cm.
Mixed technique
HUNGRY
Although the hunger index has improved this year in India, much of the percentage of the population still live in extreme poverty, having not even enough to eat . This piece makes hunger clear.
Although India is customary to eat with your hands, the spoon has always represented the working class, and a spoon facing up, empty, represents hunger, lack of food. A row of spoons to eat concave instruments, ask the viewer food throughout the room.
GHANDI cries for INJUSTICE
This pictorial sculptural work represents Mahatma Gandhi, whose tearful eye is covered by injustice. Cries at the injustice of classes, the misuse of capital, and social dismemberment implied by this social situation. Mourns the lack of humility and humanity.
Dimensions: 115 x 82.5 cm
Mixed technique
VORTEX OF INJUSTICE
Matérico pictorical work in which the various social classes through different touch fabrics are represented. The current economic crisis affects mainly the lower middle class, which is deflated, filtering and creating a whirlwind of injustice. The rope is tight, and while the class is hidden behind a barrier. Injustice reigns in our society.
The text illustrates this sentence of Mahatma Gandhi:”Capital is not an evil in itself, evil lies in its misuse. ”
Dimensions: 116 x 82.5 x 7 cm.
Mixed technique
CONVICTION
The typical dress of women in India is the sari. This embroidered or printed with different motifs, fabric is more than 5 meters long and is used to wrap Indian women. Under this practice, the condition that supports women in this country is located. With my return from India I brought with me a sari, which will become part of the installation by way of a gallows. To this it will accompany a bowl of red pigment to paint the siindor, a mark on the forehead of married women.
This work refers to the killing or girls abandonode carried out in India by inability of their parents from paying the dowry. In addition, women in this country will always belong to someone. Since her birth, her parents and her future husbands marry according to (almost always arranged marriages and negotiated by their parents), become dependent on their husbands. It treats women like property and that is their conviction. Therefore, the sari hanging represents the condemnation of women.
WOMEN IN INDIA
The life of women in India. Their status and submission.
WOUND
This pictorial-material work, part of the triptych “Healing Process” represents an open wound. Thus, it refers to the suffering that women in India and elsewhere in the world live. It means an injustice, as an open lesion that has to be sutured. It is a critique of the situation that many woman live, simply by virtue of being woman.
SUBMISSION
A menacing whip camel on a Hindu broom. Each object corresponding to a genre. It is a metaphor for the abuse and the submission of women.
ELITE AND CHAOS
This work analyzes the isolation that cause hotels or spaces reserved for the elite, from the outside where poverty and chaos resides.
This feeling is very powerful, and which, when introduced in these luxurious spaces, like you’re in another place, another time; they disconnect from reality outside.
This feeling is reflected in the work by an isolated cabin in the exhibition hall. Within it, a wealthy area, full of luxury, objects of great value, as pashminas, mirrors, a chair covered in velvet, and an audiovisual propaganda videos projected luxury hotels in India, accompanied by relaxing music and folk.
Outside, however, many shows images of poverty, stress caused by traffic, the crowded markets of people, unsafe. The streets are full of life and death, everything is in sight and nothing is hidden.
The sandy soil and sound atmosphere is stressful, a mixture of beeps cars, a traditional melody sung by a Hindu girl who begs, traditional music, songs of worship and snake charmers, cows, trains; chaos. A mixture that causes stress and surprise the viewer and which, when introduced into the passenger compartment elite varies its entire sensation, experiencing the contrast.
The swastika preceding luxury room is a recurring in Hindu, Buddhist and Jain culture symbol.
In Buddhism, due to the use of this symbol by the Nazis, it is used in anti-clockwise position against the direction of clockwise and symbolizes all eternity or the 4 elements: fire, earth, water and air.
In Hinduism, the swastika is found everywhere in the temples of the Hindu religion and symbols, altars, scenes and iconography
India and Nepal, both in the past as today. In Hinduism, the two symbols represent the two forms of Brahman (the impersonal concept of God). In effect clockwise represents the evolution of the universe (pravritti), represented by the creator god Brahma while counterclockwise represents the involution of the universe (nivritti), represented by the destroyer god Shiva. You can also see how pointing to the four cardinal points, symbolizing stability. Its use as a solar symbol can be seen in the representation of Suria, the sun god for Hindus. It comes being used as a sign of good luck. It is also seen as a symbol of power and are popular versions that resemble the swastika to the figure of a man. Until today it is used in the iantras and Hindu religious motifs. It can be seen on the walls of temples throughout the Indian subcontinent. It can also be found in the notes accompanying personal gifts and header cards. The swastika is a sacred symbol for auspicious among Hindus. It is typically used in decorating all kinds of related elements of Hindu culture. The god Ganesha is associated with the swastika symbol. Its use is widespread in India and Nepal.
Finally, Jainism why the swastika combined with a hand.
