For Nous allons gagner 5 minutes de lumière Estefanía has decided to present some of the pieces she made in the past year for her performance WORK. WOOD. GOOD. This work is her first attempt to materialise the different creative personalities that she has constructed while oscillating between disciplines. She worked between being an (atypical) Architect, a Craftsperson and an Inconstant Being. These characters together are her working identity.
Her research in making and craftspersonship started from the question: What is the need of making an idea if it is already pre-designed in our mind. What is in there for the maker? She embarked on theoretical research and reached the conclusion that through making and being in touch with a material one reaches a state of eternalisation. This if you merge your life with the life of a material. In addition to this, she considers that the idea of completion is impossible to achieve given the constant decay of the material world. That is the reason for her infinite arranging and rearranging. Battling between the world of the ideas and the real reality.
Based on intuitive images for only performative purposes she created 3 different objects: Prototype in wood No.1, Prototype in wood No. 2 and Dovetail.
“Now they will be presented here in Melissa Ansel as objects themselves, there is a separation now between them and me, something that was hard to imagine while making them. I am looking forward to this moment of detachment and see what that produces in them and in me.”
Construction of memories and nostalgia through crafting objects and sentimentality
There are some things that seem important to her, without a proper understanding of why. They are just important.
For this exhibition Estefanía has focused on the idea of Joint: Concept and Emotion / Abstract and Nostalgic / Minimal and Eccentric / Aesthetics and Dreams
Between these dichotomies is where her work happens, in the contrast. There is where she tries to find contradictions and therefore complexity in her simplicity.
She pulls herself apart in two, like Italo Calvino’s The Cloven Viscount: two different universes, two (or more) halves to then be able to place herself in between and have something to fight for. To assemble. To arrange. With patience and labour, she reaches absurdity and something that belongs only to her. Like clicking a Dovetail together.
