SIMONETTA'S EYES (2023)

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Walking in her home, Evelia experiences the past, the present and the future at the same time. In the symbolic life she leads, governed by the god Janus, everything around her seems to speak to her, until random visions are born poetic. In her eyes, there's the mauve sadness that other women have felt before changing planes of existence, and the joy of knowing that she existed/exists/will exist in multiple ways. Through the trance state that awakens the inner gaze, Evelia's anima connects with the anima mundi.

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MISMÉNTICA INSTORA (2022)

Anémona y Piscis viven una experiencia capicúa: ellas son al mismo tiempo la mujer que mira, la que es mirada y el acto de mirar. Ensayo cinematográfico surrealista que metaforiza el encuentro de una poeta consigo misma, de la mujer sintiente que se encuentra con la mujer que escribe, en una referencia al "Yo es otro" de Rimbaud; al acto de asistir al parto del propio pensamiento y hacer de la rendición ante el lenguaje un manifiesto.

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In a marine setting, Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world. Misméntica instora is a surrealist film essay that metaphorizes the encounter of a poet with herself, of the sentient woman who meets the woman who writes, in a reference to Rimbaud's "I is another"; to the act of attending the birth of one's own thought and making a manifesto of surrender to language.

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THE DEATH OF THE MINOTAVR (2022)

The death of the minotavr habla del concepto del viaje de la heroína. En esta integración del díptico audiovisual compuesto por MAUVE (2022) y MINOTAVR (2022), el sufrimiento, el horror y el agotamiento llevan al protagonista a un proceso de transformación, abismo y expiación, porque sólo asesinando al minotauro y todo lo que representa es posible volver a la vida. Desde la mirada femenina más quebrantada, The death of the minotavr muestra la profundidad de las heridas emocionales provocadas por la violencia doméstica; la misma que vivió la surrealista Dora Maar y que nos invita a reflexionar sobre por qué como sociedad, en lugar de matar al Minotauro, ciegamente le seguimos enviando mujeres sólo para ser devoradas y preguntarles por qué simplemente no lucharon, por qué no intentaron salir del laberinto. En este videoarte, múltiples significados convergen en el acto simbólico de dar muerte.

The death of the minotavr talks about the concept of the heroine's journey. In this integration of the audiovisual diptych composed by MAUVE (2022) and Minotavr (2022), suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the most broken female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that invites us to reflect on why, as a society, instead of killing the Minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.

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NOURISHMENT OF THE OBLIVION (2022)

Nourishment of the oblivion es un ensayo cinematográfico rodado en blanco y negro en Toledo, España. Cuenta la historia de Andrea y el simbionte que, al llegar a Toledo, se encuentran con una estación de autobuses solitaria, que poco a poco apaga las luces para ellos. En el silencio que los envuelve, Andrea mira el momento pasar y con él su certeza sobre el futuro, sintiendo que todo lo que vive se trata en realidad de un recuerdo.

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Andrea and the symbiote travel to Toledo; when they arrive, they find a lonely bus station, which slowly turns off the lights for them. In the silence that surrounds them, Andrea watches the moment pass and with it her certainty about her future dream with the symbiote, feeling that everything she experiences is actually a memory. In the fog of the empty city that seems to beat only for the two of them, Andrea and the symbiote play, while she discovers those little things that she will remember about him when the fog goes away. "Nourishment of the oblivion" is the farewell letter of a faceless woman, who clings to the streets of Toledo just as Democritus clung to bread with honey before letting go of life, but the farewell, although disguised as misfortune , don't feed oblivion or deprive lovers of remembering themselves through art, mythology and philosophy.

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MAUVE (2022)

Malva es la paleta de color que usó Monet para representar a su esposa Camille Doncieux en su lecho de muerte. Es también la paleta de color del sufrimiento; de los moretones visibles e invisibles, desde la mirada femenina. MAUVE, “La piel malva” en su título en español, es la primera parte de un díptico de videoarte sobre la profundidad de las heridas emocionales de la violencia doméstica.

Mauve is the color palette Monet used to represent his wife Camille Doncieux on her deathbed. It's also the color palette of suffering; of visible and invisible bruises, from the female gaze. MAUVE, “La piel malva” in its spanish title, is the first part of an video art diptych about the depth of the emotional wounds of domestic violence.