Works with texts

Images of war reach the news every day and blend in with everything else. After seeing them so often, they stop being shocking. In this work life grows back where there was destruction, as nature does when it is left alone. How much violence has become part of the landscape? Who decides which wars matter and which are forgotten?

Weapons appear in films, video games and toys long before anyone understands what they do. People learn to recognise them as just another object. In this work nature slowly covers them and returns them to the earth. Can something made to kill become something else? Why does an object designed to destroy feel so familiar?

Global warming has become one more topic of small talk, somewhere between the weather and the electricity bill. The causes are known and life goes on the same. In Lluvia ácida what falls from the sky is no longer water and the desert is still there, as if nothing had happened. What does it take to change a habit when the damage is not visible every day?

For years, acid rain filled headlines and debates. Today it is barely mentioned, although it is still formed by what traffic, industry and everyday consumption release into the air. The work starts from that silence and asks how a society stops seeing what it gets used to. Does a problem disappear when it is solved, or when it is no longer named?

What happens suddenly causes alarm. What happens little by little settles into everyday life until it becomes part of the landscape. The work places this rain in a calm setting, where nothing seems out of place. How long does a society need to accept as normal something that would once have seemed strange?

From childhood, people learn that looks open doors. Social media rewards the body that fits the standard and punishes the one that does not. Culo cara takes that way of looking to the point of absurdity. What is a person worth when they are only seen from the outside? Who set that standard, and why is it still accepted?

The same breast that sells perfume in an advert is censored in a breastfeeding photo. A part of the body is accepted or rejected depending on whom it serves. The work gives the breast back its role of feeding and caring. Why is a nipple more uncomfortable to see on screen than a gun? Who decides which bodies can be shown?

Sexual violence is still surrounded by silence, by questions aimed at the victim and by excuses. The work uses the language of weapons to speak about an assault that often leaves no visible marks. Why is it still the victim who has to explain herself? Why is protecting oneself taught before respect?

Shaving is presented as a personal choice, yet those who do not shave get comments, looks and advice. The title repeats a very common phrase that sometimes sounds like a compliment and sometimes like a warning. When did body hair become something to hide? Is a choice free if not making it has consequences?

Fish is recommended as healthy food while the seas take in plastics, waste and heavy metals. What is thrown into the water ends up back on the plate. The work puts that return on the everyday table. Do we know where our food comes from? Do we want to know?

Turning on the tap and drinking is such an everyday gesture that nobody wonders what is in the glass. In many parts of the world that gesture is not possible, and in others the water carries traces of what industry and farming leave in it. How much is known about the water we drink every day? Who is accountable when it stops being safe?

Abundance is taken for granted until it runs out. Reservoirs drop, irrigation is restricted and, when the rain comes back, the problem is forgotten. Do we look after what seems as if it will never run out? How much water has to be lost before the way it is used changes?

In Orwell's novel, surveillance was imposed by those in power. Today cameras fill streets and shops, and people themselves share online where they are, what they eat and who they are with. The work borrows Orwell's title to ask whether privacy still exists, or whether society has learned to live without it, and even to give it up willingly.

The work starts from the idea that everything is connected. What is thought, what is eaten, the use of water and fire, technology and nature are all part of a single whole, and every gesture affects it. Even so, society teaches separation and to see oneself as an isolated individual. The title, the name of a distant planet, asks how far what is done here can reach.

From an early age, people learn that disagreeing is annoying and that the right thing is not to cause trouble. Eris, the Greek goddess of discord, was the only one not invited to the wedding of Peleus and Thetis. The work brings her back as an uncomfortable figure who questions the established order. How many social changes began with someone who refused to agree? Who benefits when disagreeing is seen as a flaw?

People grow up believing that effort is always rewarded and that working more means working better. Pay is measured in euros, but tiredness, stress or the time not spent with others never appear on the payslip. Is the exchange between money and life a fair one? Who sets the price of an hour of work?

Going to see animals kept in an aquarium or a zoo is learned as a family day out. People rarely think about what it means for them to live in a space that is not theirs. The title is a reminder that a shark only attacks when it feels threatened. So who is the danger? Why is captivity accepted as entertainment?

What some call invasion, others call salvation. The same story changes depending on who tells it and from where. News, textbooks and social media teach people to see the world in particular colours. How much of what we think we know comes from whoever told it? What changes when it is seen from the other side?

After the DANA floods in Valencia in 2024, thousands of people organised themselves to help with shovels, buckets and food. The title takes up a phrase that was repeated many times in those days. The work is sold for charity and the full amount goes to an NGO chosen by the buyer. What is left when institutions do not arrive? Why does it take a disaster to remember that nobody is saved alone?