Materials: digital video.
Artist’s comment: A potato skin avatar seems to find itself in a kind of digital purgatory trying to maintain equilibrium while interpreting Lucky’s character in the absurd theatre play ‘Waiting for Godot’ written by Samuel Becket at the end of 1940. Becket left a clause in his will stating that only ‘men’ can give life to the characters of his play. The avatar, the setting, the script, the sound of an electric oven temporizer, a computer’s female voice reading the script, a women with potato skin, the green landscape ready to be edited and changed for any location, are some of the symbols present; symbols with a particular historical narrative that attempt to transit their most profound uncertainties by creating a dialogue within a digital globalized world.
The work works on many levels, making reference in this historical context to feminist movements from the 70’s and ‘Ni una menos’ in the present time Victor Grippo, an Argentinian artist and chemist who in the 70’s made a series of works called ‘Analogies’ in which (between lots of other tangents) he used potatoes as a symbol ‘to speak of…’ As Grippo, I use elements that within a conceptual collage have a conversation attempting to find a sense of purpose in a pause that seems to have turned into a constant present asking for a new reading.
Cynthia Carllinni is an Argentinian artist, based in London. She uses collage as a working method operating with and through the absurd. At the moment the artist is researching the ‘Hysteresis phenomenon’ in practical beliefs within ideas of migration, non borders, shamanic rituals, resistance, hope, pause and reorganization.
When life is experienced as fractured, no longer supported by a steady stream of habitual associations, different forces collide to make sense out of the nonsense the artist tries to recognize ‘local specificities’ in a ‘globalized world’ to further understand its own identity while embracing the complexities of these relations in our everyday life as a collage experience.