The Calm (of the End of the World) Painting

b. 25th of May 1992 in Santiago, Chile . Since its first appearances, cinematography has struck the audience with its ability to construct a fictional reality similar to our first-hand experience. The representational, narrative-based mediatic culture in which we build our understanding of the world has conditioned the way in which we experience life. As a result, we exist as isolated protagonists in self-centred narratives where life imitates fiction and vice versa.  In order to challenge this perception, I capture single frames from different films and using paint as a medium, I change their context by filtering the image through my own subjectivity. With this, I invite the audience to dialogue about representation vs. experience, about our (perhaps futile) search for a narrative meaning and, finally, about our levels of consciousness in a contemporary world where a degree of detachment to reality could sometimes be beneficial.  In my latest body of work, I focused on blurring the boundary between painting and installation, introducing time as a factor in the construction of meaning. In film, as in real life, time orchestrates every experience, measurable from beginning to end. By creating a device which invites the spectator to animate a sequence of painted images in an analogous fashion, I wanted to underline the mechanics of cinematic narrative in order to question our own relationship with its core: time.