+ videos & info coming soon

“Feminine” subjectivity has been a dominant subject of interest depicted in all my previous works of performance art since 1996. Dissolution of the ego, hysterical behavior and the notion of a pre-oedipal nostalgia were subjects of interest expressed through works in various mediums. In my former works under the alias Residua (n.pl) the central idea was one of art as experience rather than as representation and an on going interest has been the depiction of a subjects dissolution via conscience processes such as treating oneself as nothing more than an object, pushing the physical tolerance of my body in an attempt to expand self-consciousness overcoming physical and emotional pain, dissolving myself in the abject ritualized action. These performances were an expression to exorcise personal demons within, responding to a patriarchal and undesirable reality.

In the videoperformance In Girum Imus Nocte (Valencia, 1998-2008) hysteria is exorcised through repetitive rotations within confines of a bathtub. A single female performer driven by pre-oedipal nostalgia attempts to experience the dissolution of the ego; through these tireless contortions of her body, she reaches a trance and attains a kind of mystical regression.

Desvanecimientos (Istanbul, 2002) is part of a series of works called Fainting Fits started in 2001 in London (Liverpool St. financial center) about the idea of ego´s dissolution, loosing myself like an individual in an improvised fainting fits choreography performance, taking the female faint like reference of a sort of mystic rebellion. Video link: http://vimeo.com/29550831

Why don´t you love me? (Istanbul 2002) forms part of Hysterical Ladies, a series of works on hysterical behaviour understood as a sort of rebellion against the patriarchal world order. In Hysterical Ladies I tried to cross the boundaries of what is or is not considered an acceptable and sane behaviour. Video link: http://vimeo.com/29553228

In the piece Madre Prozac (Valencia, 2000) I worked with my mother elaborating a fiction inspired by a real situation of dependency. Exchanging roles and feeding her as if she were a baby.

In Anestesia (Auditori d´ Torrent Theatre, Valencia, 1999) the action is developed from two behavioral models: the contemporary subject´s incapacity for the assimilation of the pain on the one and the masochistic self-negation understood as an extension of the possibilities of the vital experience, a space-body in freedom (in this case, in the form of a cigarette on the skin).
Also, two types of presences determine the action: the real presence of the performer in the freight elevator in the backstage of the theatre and the representation on a cinema screen via a closed-circuit video. Keywords: aspirins, polaroids, screen of cinema, cigarette on skin.

The conceptual project Ovums (Valencia, 1998) is made up of two parts, the first part of it is made of diary entries written throughout the ovulation process during a period of egg donation. The other part consisted of a questionnaire that several women undergoing the same process had to fill. With the recorded material, I wanted to organize a database of the collective experience. Understanding our bodies as part of a network of post-erotic production.
+ Action art projects (in Spanish): http://www.theunifiedfield.net/blog/projects-1997-1999

Ophelia was part of a series of performance art works started in 1996 when I was studying performance and intermedia art with Bartolomé Ferrando in Valencia. These first pieces were still strongly dramatized as a result of my previous background in physical theater.
Video link: http://vimeo.com/29598657 Password: ophelia101

Below, some photo documentation of early performances (1996 – 2002):
*CLICK on the images to see FULL SIZE