Valentina Alvarado Matos

Can you spell the sheet?

If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)

If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)

If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)

If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)

If the heart is the muscle that never rests, the hands are not better off as the body’s laborers. They touch, hold, pick, and create, they bring things into existence. This film explores the relationship between art and labor in the most tactile of enterprises. Matter is present both in front of and inside the camera. In front we have ceramics, collectively mixed, molded, and shaped. Inside we have film (celluloid) collecting the light that comes from the world around ARROJALATIERRA. A film about making things that leave a trace in space and time. (Lucía Salas)

“To blend the sea and the sky with a brushstroke, to erase the horizon, to raise a new dawn. El mar peinó a la orilla searches for new geographies in a visual game that intends to alter the filmed landscape” (Valentina Alvarado).

An echo is produced when a wave is reflected on a surface and returns to the emitter. This film performance works on the idea of an echo, through the transmission, repetition and synchronisation of images and sounds, creating a system of reverberations that transform the space into a hall of mirrors.

In AÍ, I propose different ways of relating with the territory. To do so, I travel through the space, explore it and display a flag on one of the mounds that make it up –a vestige of previous occupations–. The flag has a textual plot with the words country and root. The sound, an echo of these words, becomes a mantra.

Like a huntress, the director began capturing moments of light during blackouts in her hometown of Maracaibo, seeking out elusive chances in the half-light.

In this film, Alvarado uses collage, paint, and ceramics as a means to build a possible territory to be inhabited from the diaspora and from a constant questioning of identity and roots.

These images, filmed in Venezuela and Spain, belong to a brief essay of these round trips where I search for a tension built on the idea of being native and foreign. Starting from a series of thoughts on the territory, while defining or blurring the borders, and terms like traveling and return, I started to film postcards, flashes and/ or blinks of metaphors. These are associations or links that I have with my place of origin, exploring the phenomenon of moving from one place to another, the itinerancies.