DESCRIPTION EXPERIMENT
I set out to understand societal dynamics—whether women genuinely desire discussions about sexuality, how to approach people in public spaces, and if there's a collective quest for shared conversations. Street interviews with a poster inviting discussions about pleasure yielded positive responses. Six out of seven women eagerly engaged in conversations within a two-hour radius, expressing a strong desire for spaces where they can freely explore and share.
DESCRIPTION EXPERIMENT
Creating a space where only people ho identifies as female or nonbinary can enter.
How is felling that privilege for the first time?
DESCRIPTION EXPERIMENT
Experiment in public space with a time extension. Creating dialogues in public space within what happens to the posters in relationship to a broader audience.
Bringing to the space new languages and words that are being used to define relationships.
ELEMENTS
- Conversations in public space
- How to invite with language
- Only women that seated with me
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DESCRIPTION EXPERIMENT
Creating a space where only people ho identifies as female or nonbinary can enter.
How is felling that privilege for the first time?
DESCRIPTION EXPERIMENT
Creating a space where only people ho identifies as female or nonbinary can enter.
How is felling that privilege for the first time?
DESCRIPTION EXPERIMENT
This experiment delved into mobilizing spectators and creating scenes. I orchestrated an experience at the scenography studio entrance, simulating new requirements for entry. It exposed how power dynamics within an institution can shape individuals' experiences and emotions. And have the feeling of the space being taken from them.
This semester has provided insights into my ability to evoke emotions in spectators and transform spaces through altered symbolism and meaning. As I move forward, my focus is on determining the emotions I aim to create and strategically staging these experiences.
And the experimenting gives me to power to stand and say that yes, I don’t mind making people angry.
Bisibilising conversations that are there in the social interations in a group. how everone enters this space with a diferent privilige.
DESCRIPTION EXPERIMENT
Creating a space where only people ho identifies as female or nonbinary can enter.
How is felling that privilege for the first time?
REFLECION
I was curios to see if people wanted to approach and have a conversation about pleasure.
i learn how my body posture is super important.
How wen one person aproches you then more and more do ti.
DESCRIPTION EXPERIMENT
This time, I've gathered meaningful materials from my artistic journey, focusing on creative performances. Participants have shared their favorite body parts related to sex or intimacy, excluding genitals. You'll delve into my collection, gaining insights into my process, references, and how I store and present my work. Feel free to navigate at your own pace. If anything makes you uncomfortable, you're welcome to skip ahead.
PERSONAL: I have always been fascinated by sex and all the surrounding dynamics. For me, it has been a journey to understand human connections and relationships, encompassing both intimate and openly communicative interactions. Through these experiences, I've been able to delve into discussions about relationships, emotions, consent, and dialogue, expanding my horizons. I aspire to learn how to create these intimate spaces for a broader audience.
POLITICAL: The sex-positive movement emphasizes that increased dialogue about sexuality leads to greater societal understanding, fostering a collective commitment to mutual protection. Recognizing individual comfort levels and the diverse spectrum of sexual and relational expressions is paramount.
PROFESSIONAL: I am interested in the role of space and how it influences conversations about intimacy and taboo topics. I want to create environments where spectators feel encouraged to explore these issues in depth, using various spatial metaphors to delve into different facets of intimacy. By crafting unique spatial experiences, we can provide avenues for understanding and navigating these complex aspects of human interaction.
Reflecting on the inception of this project, I initially aimed to depict sexuality in theater or challenge societal norms. However, my focus evolved to encompass broader themes like consent and exploration, extending beyond mere physicality.
Crucial were the after-talks, emphasizing responsible replication of intimacy. Collaborating with Shibary, we structured three key phases: preparation, casting, and reflective dialogue.
My objective? To illustrate the beauty of intimate connection, irrespective of the relationship's depth. Through this endeavor, I hope to instill a profound understanding of consent, fostering an environment devoid of stigma or shame.
Okay, so over the past couple of weeks, I've been diving into this project where I've been collecting people's body parts. It's been quite the journey, let me tell you. I've learned a lot, not just about the process itself, but about myself and others too.
I've had all sorts of participants, from friends to strangers, even someone I went on a date with—I know, sounds wild, right? But hear me out. What I found is that the intensity of the experience really depended on the connection I had with each person. Some interactions felt incredibly profound, while others were just okay.
And let me tell you, the stories I've heard! Some were rough, talking about regretful encounters, while others shared their deepest fantasies and desires. It's been a whirlwind of emotions, let me tell you.
Initially, I was scheduling multiple collections in a day, but it was emotionally exhausting. So, I scaled it back to one per day. It's not just physically extracting body parts; it's emotionally draining too. But through it all, I gained confidence and self-awareness.
What I've realized is that the person conducting the collection plays a huge role in how the experience unfolds. Each extraction was unique, beautiful in its own way. And I hope that by sharing my journey, I can offer spectators a new perspective on connecting with their bodies.
After two weeks of gathering different body parts from various people, one participant asked me, "What about your own body part?" I realized I hadn't done mine yet. It felt like a big deal since I'd been so focused on everyone else's experience. So, I decided it was time.
With the help of a friend, we switched roles. He guided me through the process this time. It was eye-opening. I learned the importance of clear communication and making sure everyone feels comfortable throughout.
Feeling the silicone come off my body when we removed the cast was strange. It felt like I was being pulled out of myself. But holding that piece of me afterward, cleaned by my friend, felt comforting.
The talk we had afterward was much lighter than the tense process. We laughed and relaxed. Now, looking back, I'm curious to see how it would feel with someone I don't know. This whole experience has been eye-opening, and I'm excited to see where it goes next.
Welcome to the session page.
Here, you can view a video of the extraction session with my participants.
Why did I create the session?
I aimed to create intimate moments with participants where they feel comfortable sharing their private experiences with me and others. My goal was to illustrate that when actions are undertaken consensually and safely, the possibilities for enjoyment are boundless.
The extraction of body parts involves a deeply intimate moment with a person touching their skin, exploring different parts of their body, and applying a product. It's a profoundly intimate experience.
By connecting with various parts of the body sensually, it facilitates a connection with the other person. This creates a way of connecting intimately with someone without the need for a relationship.
In this way, I encourage people to open up to me while I reciprocally open up to them, fostering a beautiful moment of connection as they offer me a part of their body.
Here in the video, you can see the different moments of the sección: the pre-talk and negotiation, the moment of setup with all the tools that allow me to take the mold, and the aftercare talk
DESCRIPTION EXPERIMENT
Experiment in the open day, where i invited to collaborate with me the girfrind of my brother to make together this fetivitie table. to invite people to share with us the process of cooking arepas and to invite the participants to have political conversations unther the table.
There was posters in the top saying the "In the table we don't talk politics" but unther the table we do talk politieect.
I created a spaces that was intended to the cusy, safe and invited people to go unther and talk what ever they wanted with a recording imagine on it.
ELEMENTS
- Cooking
- Food from Venezuelaa
- Colaboration
- collaboration whit members of my familie
- Political conversations
- invitation
TUTORS FEEDBACK + ASSESMENT
Make 1 : Discover; explore; expand.
The studio as a laboratory.
The pleasure in your research is wonderful!
The competences of the first semester, make module, are focused on your studio practice and the ability to reflect on the experiments you have done. Conducting playful experimentation is a method to start discovering and developing your studio practice.
Your energy and enthusiasm to deepen and enrich your research question in different materials and disciplines is strong. We invite you to reflect on the interventions/performances you have made and to delve deeper into the current situation; what the situation is regarding the exclusion of women/people/groups in the world around you. We encourage you to move beyond your own anger about exclusion and ask yourself: what could be future scenarios?
As a scenographer you could further explore how spatial; interventions could help you create new situations for your spectator to give them a new point of view on the subject matter. And remember that you have a responsibility towards the experience of your in- and not included spectator. We challenge you to keep zooming out during the proces, so to observe and assess the feedback from the spectators to inform you about your scenographic practice. How can you develop scenographic tools to find new practical solutions to communicate your ideas.
Questions that came up:
- What is the radical action? (Provocative ?)
- What are future scenarios? (Scenographic)
- Do we need more understanding of the current situation? (Making the individual subject more universal)
You instinctively and successfully followed the motive of connecting with other woman engaged with your subject. We admire your courage and personal approach in doing so.
Keep focussing!
DESCRIPTION EXPERIMENT
Creating a space where only people ho identifies as female or nonbinary can enter.
How is felling that privilege for the first time?
DESCRIPTION EXPERIMENT
This was an invitation to the scenography community dinner, which I organized in collaboration with FATIMA.
During the course of this event, the objective was to bring together the first- and second-year students of the Master's in Scenography through the shared experience of a dinner. We, as the "habitants" of the studio right now, organized a dinner, cooked the food, set up the lighting, and prepared the tables. The goal was to activate and connect our community through what brings us together during this course.
The idea was to foster collaboration between first- and second-year students by staging an evening together. We aimed to create a communal space where everyone could gather and connect.
My personal project was the creation of a sculpture made of spoons used during the dinner. I collaborated with the kitchen team to design a dish that could only be eaten with spoons. The space was intended to evolve during the dinner, allowing for personalization and the creation of individual imprints within the studio. This served as a conversational focal point, encouraging interaction and connection through shared action.
I created a small workshop space at the entrance of the studio where I showed people how they could engrave, bend, or modify their spoon. During the evening, I invited participants to approach this space and personalize their spoon.
This workshop created a conversational environment as people worked on their spoons. Some participants even brought spoons they had already picked, leaving them in the studio with a unique, personal touch.
Before opening the dessert table, I introduced a designated place where participants could leave their spoons after dinner if they wished. I explained that the spoons would become part of a communal sculpture, intended to remain in the studio as a symbolic object for future generations of scenographers.
This sculpture is meant to be a lasting feature in the studio, accompanying meals and moments for years to come. It will allow people to contribute their own spoons and modify the object over time, embedding it with the stories of those who pass through this space.
The choice of a spoon as the central object carries symbolic weight. The spoon is a universal tool for eating, and every culture around the world has dishes that are traditionally eaten with a spoon—each in its own unique way.
Also this object is a way for us second year to start talking about leaving this space but also kwong we have left something behind.
I wanted to find a way to start talking about leaving the studio but also leaving some part of what happen here behind.
The spoon is also a object that helps talking about leaving this space that we feel like home dor two years but know we know we leave something here.
ELEMENTS
- Community
- Memories
- Studio Space
- Collaboration
- Past/Present/Future
- Talking about leaving the space
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REFLECION
Making an invitation to all the scenography community made us first and second years work together in a common objective in hour space.
Created a more united bond between us and a beautiful went where we could all express one-hour research and trades in a common objective.
The workshop in the entrance created a conversational space during the evening, where people could have fun with their spoons and make them more personal and talk about them during the making.
And finally, y need to choose where I am putting this object and how I make it even more relevant as an object to be used for the communities.
DESCRIPTION EXPERIMENT
Experiment in the open day, where i invited to collaborate with me the girfrind of my brother to make together this fetivitie table. to invite people to share with us the process of cooking arepas and to invite the participants to have political conversations unther the table.
There was posters in the top saying the "In the table we don't talk politics" but unther the table we do talk politieect.
I created a spaces that was intended to the cusy, safe and invited people to go unther and talk what ever they wanted with a recording imagine on it.