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Decorative figures

Popular culture leads us toward a mimetic system solved through mass reproduced images; digestion and light striking images immediately receiving feedback from thousands of users. Consider for example the current tribute to the body and the consequent loss of identity derived from excessive beautification of the human figure. The pursuit of a stereotyped canon detracts from the genuine character of each body as a singular entity, creating a unique model where the cultivation of personality is relegated to the background.

Decorative figures raise an approach to the body from a contemporary orientation that is resolved through photography and video performance. Actually, Veronica Vicente proposes to convert the body literally decorative object. The body limits are not defined as human entities but as proper matter of objects. Through a start properly selected scene and a balanced composition, images poke us luxurious interiors, perfectly conditioned rooms in an element protruding above the rest; a strange figure that stands out from the background and allows certain anthropomorphic warn profile hidden under different textile designs. The result is completely an esthetic, sexy, chiseled body to adapt to the environment by taking a stance that is not own and renouncing its previous state.

Through the performance, the artist repeats the identity issue going to the gesture to highlight the human condition hidden under all those bodies (di) simulated. The gesture now becomes definite and concrete, claims its space as a subtle choreography, find the flight as in an internal struggle to shed the garment that oppresses him. The stillness of the image is interrupted only by the rhythm of the rocking figure shown on camera vacillating between the living and the inert, halfway between the physical and ornament.

In a time when the body craves metamorphosis and virtualization of the self-perpetuating, if we transcend the socio-cultural connotations guess in the work of Veronica Vicente an impressive emotional burden. His images place us in the world as objects while his message claimed us as subjects; as sensitive individuals.

Text by Sara Donoso