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we also have salty blood


in the hands the nakedness of the eternal,
of what was there from the beginning.
in the eyes the wells of salty water
the skin bristles and, like the wave, breaks against the pain caused by the human, which like the rocks, suffers

wear at slow speed.
the sand prints the log
of memory and abuse, returning to us what we threw into the sea.

- the beast in our eyes -
- the cradle of human memory -

the eyelashes stuck with crystallized salt and the indescribable, deep hum in the ears;

the belief that the wet and breathing space belongs to us
butchering futures and wiping our hands.

The artistic installation alludes to the multiplicity of skins, of lives, that contains our existence, of how the largest organ in our entire body, the skin, is where we feel the passage of time, where we see more obvious the wounds and through what we communicate with our interior. The skin shapes the body and encapsulates it. Through the arrangement of the plates, the intention is to create inside-outside spaces in order to play with this duality and build bridges to break it. What leaves a mark in our heart also leaves a mark on our skin.

... and it has left its mark on our skinestablishes a dialogue between the concepts of individuality and group. It speaks of individuality through being an installation that is configured through many elements where we can see a repetition. The pieces of clay, the pieces of skin, refer to how each personal experience is different, to the diversity of lives and existences. This uniqueness makes the record imprinted on us personal and through each skin a different story can be read. It speaks of a whole, of unity, setting itself up as a cohesive installation where, despite each piece being different and unique, it is part of a group, as the individual is part of society, as despite the diversity of lives we find many shared experiences that generate community.

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