57cm x 64cm

Ceramic pigments on ceramic and wood 

"The memory is built at a distance as a work of art, but as a distant work of art that directly becomes the title of ruin, because, in fact, as accurate as it may be in the details, the memory never has been the truth of no one "

(Marc Auge, Le Temps en ruines)

"A ruin is an accident in slow motion"

(Jean Cocteau, My first travel)

    We usually remake our concept of what the past is, based on collective or individual ideas of what we remember or think we remember. We make new connections and interpretations, which change over time, of old events; and many times we use these fragments, these modified memories, as a way to justify our present.

     Borges said that the past has no reality of its own, but as a present memory, just as the future is nothing but present hope.

      A. Dolina had the theory, in this regard, that the texts, the fragments of texts and the traces that come down to us from history and past civilizations, and that we try to reconstruct and imagine their shortcomings, in order to imagine civilization who created them and who in turn created our past and our history; in fact, they had already been created like this, as unfinished fragments, as memories, as something incomplete. The past would have been created as ruins, and it did not come to us in the form of ruins due to the passage of time and years.

      For the present work I generated a series of portraits, situations and notes using my travel notebooks from past years. Mixing its protagonists and their contexts, in a non-existent chronology, which changes the meaning and presents the facts as could be given in a reinterpretation of our head. And fragmented, broken, like our memories, as a successive adaptation, where the supposed reality and its characters go from being an idea in a notebook, to being converted into a painting, to being observed and interpreted by the viewer.