CROSS-BORDER CULTURAL
PRODUCTION AND CREATION FACTORY
CROSS-BORDER CULTURAL
PRODUCTION AND CREATION FACTORY

AMAIA MOLINET

THE SPRING I LOST / THE LACK OF TOUCH

This project arises from different visual and formal exercises between desired stimuli during the confinement period of 2020. It consists mainly of different photographic series of a not excessively obvious personal reading of the impact of the pandemic on myself. This first part, of a rather visual character, will be exhibited during the first fortnight of September there in Cluj-Napoca. While the second part is presented as an extension of a more verbal character, paying attention to both the plasticity and the phonetics of the word, in addition to experimenting with meanings and etymologies. Both apparently different parts are closely related as they are elements with which to interpret the personal impact of more than a year of pandemic.

I carry out my work from photography as an extended field; to be precise, my main interest comes from the photographic practice in the face of the problematic of territoriality as a sign of identity. I connect notions such as frontiers, memory, architecture, or territory from a complex and personal sense of the landscape as a cultural, political, and even social construction. Some of my projects, which are purely focused on photography, are aimed at presenting images from a phenomenological approach and with some purpose of criticism. Therefore, their aesthetic features make it possible to understand an implicit political component in their construction. Yet, beyond this aesthetic and even technical motivation, I understand our current artistic practices as some sort of life experience and thinking. I develop my artistic work as a study of the environment, understood as a framework for identitary influence, by using symbolism and connotation as artistic tools to get to know our reality from both an affective and perceptive point of view. I do believe in the importance of performative actions captured through photography and video, as a way of creating close bonds between myself and the environment, and finding a balance within the controversial nature of working on a given and demarcated territory. Then I also pay attention to the elements I display my works with, in the process of a sensitive reconstruction of the experience lived on the ground, to reterritorialize it into physical supports.

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