We might understand memory as a paradox that involves both remembering and forgetting. Oblivion addresses this ambiguity in relation to the self-construction of identity and nostalgia, through the evocative power of the ornamental.
The free-hanging works from this series take the form of oversized fragments of handmade lace pieces displaying diverse iconography from the Renaissance period: flowers, acanthus leaves, and volutes. In my memory, these figures are also reminiscent of Buenos Aires’ architectural façade reliefs, traces of a past era that I have not experienced and, yet, for which I yearn.
Are There Shapes in Oblivion? loosely resemble ormolu-mounted vases -a term used to describe gilt brass ornaments applied to objects in the 18th and 19th centuries- in different stages of metamorphosis. Having lost their recognizable shape and becoming one with the vase, they are frozen in time amid an uncertain transition. [Read full text]