Statement:
Over the past eight years, I have focused on using food as a recurrent theme in my artistic practice, creating artworks that make political statements about the absurdity of food distribution in our capitalist society. These participatory art projects revolve around organic food production, cooking traditions, and efficient energy technologies, teaching people how to grow organic vegetables, build clay ovens, and cook outdoors with fire.
Upon moving to Norway for my Master of Arts in Performance at the Norwegian Theatre Academy, I began researching Radical Hospitality in Contemporary Art. My particular interest lies in using food as both an art practice and an object of art, exploring the performativity involved in obtaining, preparing, and offering food. Last year, I delved into hunting as a performative practice, exploring the essence of craving and the transformation of wild creatures into nourishing sustenance.
More recently, I've been exploring performances that highlight the sensuality of food, its connections to sexuality, desire, and taste. Simultaneously, I've developed a participatory and creative methodology to investigate the interconnection between food, energy cycles, the human body, and urban development. My research aims to create a transdisciplinary artwork envisioning the future of food for individuals facing urban-rural migration. I question the disappearing rural traditions and the potential countrification - hipsterization of rural lifestyles, while also exploring people's relationship with the food they eat and how they value food accessibility and labor.
Over the past eight years, I have focused on using food as a recurrent theme in my artistic practice, creating artworks that make political statements about the absurdity of food distribution in our capitalist society. These participatory art projects revolve around organic food production, cooking traditions, and efficient energy technologies, teaching people how to grow organic vegetables, build clay ovens, and cook outdoors with fire.
Upon moving to Norway for my Master of Arts in Performance at the Norwegian Theatre Academy, I began researching Radical Hospitality in Contemporary Art. My particular interest lies in using food as both an art practice and an object of art, exploring the performativity involved in obtaining, preparing, and offering food. Last year, I delved into hunting as a performative practice, exploring the essence of craving and the transformation of wild creatures into nourishing sustenance.
More recently, I've been exploring performances that highlight the sensuality of food, its connections to sexuality, desire, and taste. Simultaneously, I've developed a participatory and creative methodology to investigate the interconnection between food, energy cycles, the human body, and urban development. My research aims to create a transdisciplinary artwork envisioning the future of food for individuals facing urban-rural migration. I question the disappearing rural traditions and the potential countrification - hipsterization of rural lifestyles, while also exploring people's relationship with the food they eat and how they value food accessibility and labor.
UPCOMING / NEWS
PREVIOUS WORK
"NAvigating Human traces" show for MEXICO city ART WEEK 2022
Performance Program: Living in Time - ZONA MACO ART WEEK
Museo Ex Teresa Arte Actual Curated by SAMANTHA OZER. Friday, February 11th, 2022, 7:00 - 9:00pm In a period in which our relationship with time has irrevocably changed, Living in Time makes visible the power of transforming small actions and repetitions into rituals. Responding to the architecture of the former church, Arantxa Araujo, in collaboration with LUM Arte y Medios y Vicios Ocultos, Alejandro Chellet, Miao Jiaxin, and Verónica Peña, consider how place grounds experience and how our environments mediate our connection with ourselves and others. The title refers to the text We are opposite like that (Subcontinentment books: 2020) by the writer and artist Himali Singh Soin. The poem begins, “we live in time, even as we experience the world in duration,” and continues to trouble the “invisible tension between objective reality and the subjectivity of perception.” While this extended moment of crisis brings new anxieties, it also presents an opportunity to unbound ourselves from a linear relationship with time and imagine new forms of communication. |