Where the root is braided
An installation that emerges from the encounter with a dead palm tree, establishing connections with the Reforma anti-monument in Mexico City (also called El Ahuehuete), dedicated to disappeared persons. The work reflects on the use of living elements as monuments and the transient phenomena between life and death.
The found palm tree is placed on bricks in the exhibition space, evoking processes of self-construction. A papier-mâché mask accompanies it, directing its gaze toward a "body-landscape": a blanket that retains the imprint of the artist's body after wrapping herself in it. This body imprint questions the artificial separation between body and nature, proposing the concept of a "relational landscape" as a fabric of affection between the human and the more-than-human.
Reed poles—ritual elements associated with year-counting ceremonies and fireworks—complete the installation, along with "El Requerimiento," a colonial document that legitimized the conquest of Abya Yala. This text, originally in Latin and speculatively read without an audience or translation, is transformed into material for documentary poetry played through a loudspeaker.
The work interweaves historical memory, colonial violence, and reconciliation with territories and bodies, poetically subverting discourses of domination.