The pieces of the Scalp series make up a whole that functions like the torn-out pages of a journal, but in disproportionate sizes.

The material that resulted in these artworks was generated during a research process, funded by the grant for Research Help/Production of the CNAP in 2016.

This research consisted in following the trace of three characters located between reality and fiction, following in some ways the path of three lost ghosts in Mexico (1).

The project consisted in an immersive quest process to write a script that would give rise to objects, a sculptural script.
The project unfolds in this manner in several chapters of which the exhibition (S)CRYPTE would be the first, the one “unveiling” the script.

Except that the scattered and fragmented notes that make up the script are brought together in the shape of a palimpsest, where they become almost illegible, in the superimposition of writings, images and written forms.
It is therefore a question of writing, where writing becomes drawing and drawing, writing, where signs are cryptic and appear as “forms”. These forms all stem from the quest process of this Mexican project.

The use of beeswax to superimpose layers of matter makes these pieces float between drawing, writing, and painting, but also with the nature of an object, a bit like a skin or a screen, on which information is printed, engraved and also obliterated, with elements disappearing in the background and others arising from the surface, in reference to the way the memory functions.

Two sculptures made from stepladders complete the exhibition, locating it in a paradoxical and floating temporality, where past, future and present superimpose themselves.

(1) This quest was structured in three axes, the first concerning Robert Smithson’s trip looking for Ancient Mayan ruins between Mexico and Guatemala, that has a significant break in the Palenque Hotel. The second around Mario Santiago Papasquiaro’s poetry, known also as Ulises Lima, a character from the book The Savage Detectives, written by Roberto Bolaño. The third surrounding the figure of the Pre-Columbian God Xipe Totec, the skinned man, a figure presented as a character wearing a human skin turned inside out.