Original artwork description:

64x84 cm | Filler, oak frame

The number of imprints refer to the protests in Chile in 2019. They were about the cost of living for the poor after many years of neoliberal policies. The raised subway fares to 30 pesos were one of the reasons expressed in the slogan "No son $30 pesos, son 30 años" [It's not 30 pesos, it's 30 years]. Our dependence on material circumstances is our most basic condition, and the struggle for a fair distribution of economic resources might be the one with most subversive potential.

Paper Cups a series of paintings with imprints from regular paper cups. The kind you get from fast food places, and the kind that often is used by people begging in the streets. The series is about the disparity of economic resources.

Begging, an expression of the most precarious vulnerability is man’s most profound condition. We need others to exist. It is a gesture that expresses the truth about our position. Entirely subject to a potentially indifferent world. Begging tells something about money. We have an economic relationship with reality. We are endlessly exposed to the contingency of life, and to those who embrace the raw power of injustice. Begging, and giving without compensation and conditions, is a subversive act. A protest and an act of resistance, showing that another world is possible.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. The works thus function as a recording device and give a statement of the event taking place while the filler was still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.

Materials used:

Filler (coarse and fine) in oak frame

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