When a practice is presented in relation to others, the singular becomes assemblage and dialogue. Through a subtle gathering of different gestures and mediums, the works presented by the residents of Casa Lü produce layers of meaning in constant mutations. 


Jessica Joy presents vibrant forms that flow in and out of their organic nature. A play between contours, negative spaces and her particular use of color produces a new glowing optical relationship with the natural world. These are not representations in a realist sense, rather we enter the realm of plants that dream of their own becomings. 


The works of Ciara Mendez overflow with a punk rock sensibility towards the American imagination; the framed photograph appears to us as a centrifugal object that spins and tears apart the visual rhetorics of the family portrait. Her bold graphic work reveals a sense of humor towards these classic structures of representation. Her video work is a ghostly apparition that perhaps is trying to flee the contours of its frame. 


Laura Mora’s emotional gradients fluctuate at different levels of intensity; the manifestation of an optical desire. Her landscapes can be read as self-portraits, interior topographies regarded with tenderness and curiosity. A neon line of yellow horizon pierces its medium above Laura’s sculptural works. It is as though her colors have morphed into three dimensional planes on their own. 


A soft sentence fades into the translucent material; To travel on mucus. Soil and metals modify the snail's body and the snail modifies them in return with its trajectory. Melanie Ender’s explorations are open-ended and in continuous flux. The subtle choreographies she creates  appear contained in the curves and movement of her work: the slowness of the first image she has created contrasts with the swift motions of copper camouflaging itself, in and out of the yute until it appears to extend one of its arms (or tentacles), as if suddenly desiring touch. 


How could you describe the feeling of being in a city surrounded by volcanoes? A wooden wall separates Alix Bortoli’s video piece from the frames that animate her Western, an interstice between stillness and movement. The red bandana is a landscape on which metallic fragments have been woven for a future animation and golden dancers appear motionless; a disarticulated cinema. The video piece is a collaborative project that presents a narrative by Mexican writer Fernanda Ballesteros and a music score by Colombian composer Carlos “Champi'' Benavides.



Mariel Vela G.