A few years ago I heard the concept of millenary inequality, and I understood that my work, consciously or unconsciously, had always gone this way. My interests as a receiver and producer of images follow this path of the peripheral, the marginal, whether physical spaces or human presences: non-places and non-existences, and how that marginality has a political and economic utility in all societies. Marginality and inequality tend to go together. But, what is the discourse of marginalized people? And what are the right ways to represent them?
To these interests has been incorporated a personal awareness and growing in three senses: an actively feminist view, the need to speak explicitly or tangential way (or millenary) problems arising from the new geopolitics and the existence of an excess of images that end up being banalized by repetitive. At the same time, as a form of expression, I am particularly interested in the language of so-called non-fiction (between fiction and documentary, between reality and the performative), the film portrait in its multiple forms (through fragmented bodies, the close up faces, the objects, the absences) and the deconstruction of the official stories to reveal stereotypes and interests.
I work with video and sometimes photograph. I film with a little handycam or with a more professional camera, it depends on the context and the texture that I feel that each image demands. But I really build my pieces playing in the
edition with synchronization between image and sound. Capturing images of the others, so distant to me, however, it also ends up being a way of self-portrait and of knowing, recognizing and vindicating my own marginality from my origins until my present.
