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Rodrigos and me was my response to the assignment of curator Mario Navarro for the show called Daniel López Show, title taken from one of the many alias used by Augusto Pinochet to commit its millionaire economic crimes. Beyond the clear political matter, the aim was also, somehow, to think about identity, so I decided to make a kind of camouflage exercise using both my own image and the ones of two of three artists participating in the show, all of whom casually where named Rodrigo (Rodrigo Lobos and Rodrigo Vergara; it was not possible to photograph Rodrigo Pereda, who was at that time living in New York).

In different photographic sessions, I made a serie of shots in which we posed looking at the camera, standing in front of a red wall. We changed our clothes over and over; many times using mine, that was notoriously too small for both Rodrigos —clearly far bigger than me—. With these images I put back together the three portraits starting from fifteen rectangular modules, trying to rebuild the continuity of the bodies, despite the mismatch produced between the modules showing a piece of garment of different colors and textures.

The title of this work, Rodrigos and me, makes reference not only to the anecdote that three artists with that name were participating in the show: to this I must add the fact that, throughout my whole life, I’ve met an important number of Rodrigos (more than thirty), including, amongst other, my father —Jorge Rodrigo—, my ex husband, my brother in law, and the fact that before I was born my parents didn’t imagine that I their child could be a girl, so the only name they had reserved for me was, also, Rodrigo.

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