re:kindle public arts: Broken Home 
My artistic expression evolves around memory, how we understand the pain of others and imagination. These topics always immerse as narrative, combined with current social and political issues. The idea or concept of a broken home came to my mind when I was reflecting on the stability of the home I grew up in. 

By questioning generally someone leaving their home and setting up there own “temporary transitional dwelling” and how in some cases this transition becomes permanent. In other instances, individuals are unable to find a shelter appropriate to their name, and therefore being called “Homeless”. 

The project is exploring the notion of the internalized home. The constructed dwelling is made out of found wood, twigs, mud and refers to stability and continuity. The wood has been white washed to emphasis a ghostly feel. The makeshift transparent sown tent represents the internal being exposed to the outside world. The tent also signifies attributes of movement and re-location. The wooden skeleton is left behind. 

This installation is primitive and incomplete in its shape as well as organic and has also a personal significance. I left my family and memories back on Aruba as I had the need to go away and experience life. I keep going back to the construction of temporary structures like a memory, because I had created spaces like this on Aruba. 

I would like to convey my gratitude to Tony Peakall at re:kindle public arts project; Astrid D.C Soto and Alejandro Pirela Soto, Danny D. Martinez for the help with the construction and Renée Pfister for her advice.


Final Specialist Project at CSM Byam Shaw School of Art Degree Show 28th June 2010

Dehydrated Grounds:
“The child with hands covering eyes begins a path while playing: abandons a trusted reality”
 I have childhood memories of walking on cracked mud grounds.  In re-creating this experience in an emphatic artistic representation  I reconsider the materials to explore the gaps and different layers of reality within the human condition. Mud cookies is the reference material, yet removing the sweetness and temptation of fairytales and referring it to cracked and dried surfaces of disillusioned realities at the same time connecting it to  historical events and as well as current realities such as the consumption of mud as staple food source in  nations overwhelmed by famine.  In this path I hope to induce audiences to the abundant of dehydrated crumble of cookies defaced by the action of walking.