[…] I never create allegories. I create my own world. That world does not signify anything unusual. It just exists.
Andrei Tarkovsky Talking, “Cencrastus” 1981 (Pol. Trans. Jadwiga Kobylinska).

 

 

There is a recurrent theme in my work, a dark and imprecise part that every work of art reaches. I think it would be accurate to name it The Groom Stripped Bare By His Bachelorettes, in reference to the mythic work.  First of all because of a liking or ludic game consisting in exchanging roles as in In the Country of Last Things, where a transposition of the male and female roles is to be found, from the characters in Max Ernst´s book Une Semaine de Bonté, there is also something of mechanical and robotic about the clone and the strangeness of the cloned woman. Just as there is strangeness and otherness in the ballerina from Le Palais des Danseuses and her legless dance, an eternal twirl, like a mechanical action. And this liking for showing the back of the installation and its wiring. Once again a reference to the automaton through the women with falconry hoods in Nine female moulds, whose movements no longer follow their will, but that of something or somebody other than them. Maybe they are nothing more than the transposed equivalent of the male moulds in the bottom pane of The Large Glass. A way of talking through Rose Sélavy. And let time and space become philosophical machines.

LINAREJOS MORENO, 15-05-06