Himno a Isis
( siglo III o IV A.D.)
Descubierto en Nag Hammadi

 

“Porque soy la primera y la última,
yo soy la venerada y la despreciada,
yo soy la puta y la santa,
yo soy la esposa y la virgen,
yo soy la madre y la hija,
yo soy los brazos de mi madre,
yo soy la estéril y numerosos son mis hijos,
yo soy la bien casada y la soltera,
yo soy la que da a luz y la que jamás procreó,
yo soy el consuelo de los dolores del parto,
yo soy la esposa y el esposo,
y fue mi hombre quien me creó,
yo soy la madre de mi padre,
soy la hermana de mi marido,
y él es mi hijo rechazado.

Vosotros que me negáis, reconocedme.
Vosotros que me reconocéis, negadme.
Porque yo soy el conocimiento y la ignorancia.
Yo soy el pudor y la audacia.
Desvergonzada y avergonzada.
Yo soy la fuerza y soy el miedo.
Yo soy la guerra y soy la paz.

Respetadme siempre,
porque yo soy la escandalosa
y la magnífica.”

 

 

 

 

 

 

Chamaleonidäe (Chamaleon Project) is a reflection on the habitat, the adaptation, the duality, the escape, the finite infinity, the universe woman, the hidden souls.

A refuge of conceptual plurality in pursuit of making a mess of what is set, steers us towards new perspectives from what is hidden. An identity full of metaphors and polarities. A place to calm us down, to show us, to hide us, to blend into any living space. An attempt at listening to our inner souls to know where, when and why. What we show, and what we are expected to show: passion, sexuality, maternity; the belonging and excessive places of being.

My goal is establishing a dialogue between the geometrical sobriety, articulated through balanced areas of color, rhythm, and composition of its execution, resulting from the exploration of the visual experience of light, space, color, and shape.

I pursue the beauty of interwoven shapes; the geometry of worship brought to life, matter and living space; the organic forms. The interchanging movement is seen in the eye of the beholder in the perception of the combination carries away to take part in that game of rhythms and to learn the language that is generated.

The series articulates in a way narrowly studied, where the relative positions have correspondence with different elements and where the corporal expression wants to shape a discourse. Meanwhile, the colors are those that take over the semantic load, trying to generate a coherent chromatic parallel vocabulary that creates imaginary.