About the work

The investigation is always about interceptions and interwoven things—about the visible and the invisible. It is from the points of encounter and disjunction between the voice and the visible that the imagistic universe of the work is projected.

Taking into account the artist’s musical training, the voice presents itself as the preferred raw material. It is through the voice that the role of our sound begins to be questioned: the capacity for the continuous construction of a personal soundscape, which intersects in duets and vocal ensembles with the rest of the world. It is in the voice, which is apparently invisible, that we imagine its form, its allegories, and its myths. In the phonatory apparatus, the industrial production of sound takes place, beginning with air, its pressure, vibrations, and resonances. Thus, each body is the cocoon that uniquely envelops the most powerful medium.

Because the artist’s voice is female, the question of what it means to have a voice carries even greater weight. From here we travel to sirens, nymphs, and all the mythological figures that embody the power of the female voice—a power always hidden in the wings of stories. These voices are known as being steeped in potions of the occult, of manipulation, and of enchantment. Within this closed cosmos of repression, female voices find in every existing crack the capacity for escape.

Artistic practice thus becomes a crossing of things: on the one hand, the possibilities of sound writing, sound production, and melodic improvisation based on gesture and drawing.

Fiction crowns this investigation and seeks to invent the sound of things—of symbols, of marks and smudges imprinted on the world.

On the other hand, there is the irreducible truth of the voice that assumes the phonatory role. The female voice that carries, in the larynx, the heavy baggage of its timbre. This is a voice that wants to be heard and that, from its own myths, repositions itself and assumes a new breadth and reach. The melodic breath infects objects—natural and artificial, stage props—and in the artistic installation multiplies its song. The voice projects itself in a kind of animistic logic, breathing life into things, symbols, and icons.

What the invisible voice does to the visible is to rename it and, through a melodic fiction, assign it other characteristics, new functions, stories, and myths.