Triptych in Santiago was part of a series of works in which I conducted a systematic photographic record of my children in various daily household activities. For this project I chose three images of a series taken along over eight months, in which my children were shown while they were eating sitting at the kitchen table, at different times. However, in this case the challenge was not related to a huge accumulation of images slightly different –as was the case in vigilant–but instead it involved the installation of the selected photos on a three-sided billboard (those whose images change regularly every few seconds).
The purpose of this work was to install these amateur-looking photographs on a large scale advertising device, designed to show high-quality images with the ability to strongly call attention of anyone passing. The contrast between this advertising device and the quotidian character of the images resulted in them passing unnoticed in their quality of work of art. On the contrary, this billboard appeared to be defective, as it shows images in which someone seems to have forgotten to include the brand of the product. In this sense, the invisibility of its character as an artwork is equivalent to how small domestic routines disappear in the constant repetition of everyday life.