Many times during my study years I included photographic self-portraits on my works. However, ten years passed since Para hacer en casa (1992) before I use my image again, this time to make three new works, among others, exercises for the strengthening of the body: relax.
It is an installation of two large scale photographs —one of them mirrored—. On the photographs there’s a women kneeled next to the bathtub, washing clothes. Unlike the portraits that were part of Para hacer en casa, in this case the position of the woman —turning her back to the camera— hides her identity. But this is not the greater difference: in this case, the absence of a pose is what stands out first in the image, because it is no longer about making a registry in the place I used to inhabit, but to capture an ordinary domestic action; the movements, time and rhythm needed to carry it out.
So, this images relate to those systematic photographic registries of my children taken some years earlier, in which they were seen doing little daily activities, simple routines insistently repeated over time. Nevertheless, in this opportunity it what also the work’s materiality what become relevant, since this large photographies where home made: hundreds of pieces of watercolor paper, printed one by one in an inkjet printer, a medium as fragile as the instant the image was trying to contain.