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Deconstructing the domestic

Eventually, the space that shelters us feels limited and conditioned by how permeable its border was created and the courage we have to break through. What is known seeks to be disordered and recognized in another dimension.

Color draws us towards change; we are lured by color graduations and their sensual materiality. Although the transition is solemn, it brings joy, and Victoria shelters us throughout the process. She does not exercise control, but rather regulates the force; she intents not to be violent or destructive, but rather disarm and dismantle the pieces in a magician-like manner. Deconstructing the known involves resistance, but the paintings allow us to venture into the new space without feeling the distress of what is left behind, our attachments to the nest.

In the interval of a blink, as if put in a trance, we pass through without seeing. Utter dynamism is perceived in the transition. Sequences freeze and objects become massive as they move towards you, expanding the scale of your desire.

Nothing seems to be where it was before, nor does it recognize a place of belonging. Each object searches for a new place to re-signify its relation to the other parts, thereby triggering new ways of finding balance and expanding our spatiality without building borders. Questions also arise as to how to find the reverse and the simultaneity of the qualities, how to ensure care in the openness, how to be inside while being outside, or being the roof that protects and the one who goes up to see the sky and lives like a god every day.

Carmen Sojo

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