“Clemencia Echeverri points out the intensity of the catastrophe produced by the destructive capacity of human beings, comparable to the power of the forces of nature. Only that the impetus of the devastation generated by groups and individuals takes increasing proportions and does not seem to obey cycles where construction and destruction alternate… in this work Echeverri carries out a metaphorical treatment of the image, which does not exacerbate the emotion in a primary way but rather leads to a reflexive observation as well as a sensitive one… The woman who incessantly draws one house after another, knowing that they will be swept away an equal number of times by a torrent of rust-colored water, also suggests the destruction of the family fabric, of the nucleus of wider communities”.
Carmen María Jaramillo, curator. Excerpt from the catalog “Otras Miradas”.
Doble Edged, Speech Acts, National University of Colombia, Bogotá, 2009.
The hands try to create stability, location, the “frame of our lives”. It is a political feminine anatomy that proposes women’s hands as builders of the fundamental house. The woman’s hands, fragile, obstinate, powerful, claim with power the function of inhabiting. But the houses are immediately erased because they stay in the territory that cannot be created or lived in the Colombian conflict.
The action of drawing would be the deployment of a territorial semiotics exercised on a space: paper, screen, swamp, land, which before the drawing, that is, before the marks and limits established by humans, is not yet territory. It only begins to be so in the very act in which it is marked. And it will cease to be so when these marks, borders, limits are erased.
Sol Astrid Giraldo
TECHNICAL DATA SHEET
Double image screen in the center of the space.
Duration: 8 min
This house is not an object but an action. It is not a noun but a verb, a fixed room but a dynamic dwelling. The female hands execute here a territorial choreography that seeks to create a place in the world that allows a minimum of stability and location, the essential “frame of our lives”. The house does not stay, it is made (and unmade). The drawn house is a stubborn attempt to create that existential and subjective frame.
Photoserigraphy on stainless steel plate
Dimensions: 1,50 X 16 cm
BEHIND THE SCENES