My brother’s leg grows at a rhythm of its own, slower than the rest of his body. Through a gesture of inversion, his scar (a result of multiple surgeries to stretch his limb), becomes a mountain chain. An attempt to inhabit fictive territories and different temporalities.
Through a series of strategies of inversion and copy, a fictive territory is constructed at the same time it is explored. Taking a mold of my brother’s scar as a point of departure, various tool-works such as contour serigraphy line maps and drawings, GoogleEarth-like images, a silicone sculpture, a dispositif that tracks rising water and and a 3d animation are combined in a site-specific installation work.
"In the bosom of impenetrable forests there is no other way than the rivers", wrote Alexander von Humboldt in Cosmos: a sketch of a physical description of the universe. The scientist-artist and traveler proposed in his book the "outrageous idea" of capturing everything that was known in the 19th century on the celestial and earthly phenomena; from the star nebulae to the microgeography of mosses that grow on granite rocks. Sidereal astronomy, organic life, geology, magnetism, volcanic eruptions and other phenomena surveyed by Humboldt in his expeditions around the world, integrated an assemblage of interconnected elements: a science of entanglements.
"The bed of a river may be the absence of a mountain", speculates Flora Reznik in her notebook, as if contesting the Prussian naturalist’s statement. Flora's work is born from an expedition - both real and imaginary - of territories that only exist from the moment they are traveled. Habitan esas laderas / (Change in Y, Change in X) links fragments of an exploratory journey undertaken through the fringes, edges and accidents of a scar that becomes mountain.
A silicone mold reverses the void of the scar, similar to the the bed of a dry river, transforming it into a mountain chain contained in a device that little by little submerges it in water. The different levels in the which the liquid is covering the volume are then transferred to the design of serigraphic maps, composed by sinuous lines that draw traces in the soil like woven threads in an embroidery. Cartographies, photos and drawings resignify the porous surface of the skin and the sedimentation of the mountain.
The 3D animation, projected in the second room, introduces a suspended temporality while moving slowly through the topography of this body-mountain. Flora sutures the parts of the path like a mountaineer who closes up the blind spots of the stones, marking them in strategic points to be able to reach the top. Climbing thus becomes a question about the scale; every trace is miniscule compared to the immensity of a body that is also mountain.
Among so many other scientific-artists and romantic travelers, von Humboldt understood how small we are in the face of nature that goes beyond the limits of what is attainable. To inhabit the slopes is to inhabit the immeasurable.
Text by Jazmín Adler - curator