RAKEL GÓMEZ VÁZQUEZ
Piedra rima con hiedra, mármol rima con árbol
Piedra rima con hiedra, mármol rima con árbol is a visual essay on the advance of the red palm weevil and the loss of this colonial symbol of the Indian palm trees in the landscape, as a revelation of the history of our time. The Basque hymn Agur Jauna, in its musical, textual and symbolic dimensions, will be taken as the centre of the conceptualisation. This emblematic piece of Euskal Herria is a hymn of great symbolic weight in our culture. In the progress of research from artistic practice on monuments and biological plagues, it has been observed how decolonial readings continue to exercise an extractivist and colonial role over plants. While they have always travelled, we know that our influence has accelerated their dispersal and now also their disease. However, conservation and care currently only takes into account the native flora. Therefore, the disruptive and symbolic capacities of the hymn on these exotic plants will be used in the production of an installation.
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Rakel Gómez Vázquez is an artist and researcher, with a degree in Fine Arts and a master's degree in INCREARTE from the UPV/EHU. She has completed her training at the Accademia di Belli Arti in Florence and the Universidad Di Tella in Buenos Aires; she is currently writing her doctoral thesis. She is a founding member of the art research collective Armar; she is a member of TXT lab and the research group AKMEKA (Arte, Kultura eta Media), and also collaborates with theSIA. In her career as an artist, she has received several grants and prizes for creative work.
Her production understands creation as research and is articulated as an expanded documentation. She explores the landscape as a cultural construction, which portrays political-social issues of memory and identity, investigating the colonial influence on the visual and symbolic construction of origin and identity, and analysing its validity and projection in the landscape. In addition to consulting archives, libraries and visits to museums, he combines fieldwork and the tools with which he habitually develops practical work through drawing, engraving, installation, photography and photosensitive analogue techniques such as cyanotype.
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