Marcela Mouján

Marcela Mouján

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    Mentioned

    Reeds [Juncos] (2006)

    Photograph intervened.

    Forest 4 [Bosque 4] (2006)

    Photograph digitally intervened.
    All my pictures consist of things that keep starting all over again, all the time, as with my sculptures. I take the decision to finish them at some point, that have to do with the pictorial, the volume, the composition or the colour, but they could continue to any side, and that interests me. I have a book of pictures of the universe, images taken with the Hubble space telescope, which fascinates me. The pictures show what they can, the universe continues to both sides but the Hubble, due to its technical limitation, shows us a trim. That’s why I like to work with photos. In the history of photography exists the intention to capture something and hold it that leads you directly to think about time.

    Chameleon Hourglass [Camaleón Clepsidra] (2004)

    It’s blown glass that contains coloured liquid that raises and falls thanks to a hidden water pump. A timer divides the impulse of the water pump in small periods of time.

    Snake Hourglass [Serpiente Clepsidra] (2004)

    It’s blown glass that contains coloured liquid that raises and falls thanks to a hidden water pump. A timer divides the impulse of the water pump in small periods of time. Unlike the others, this one doesn’t have a base, it comes right out of the hole in the wall.

    Sand [Arena] (2002)

    Photograph intervened.

    Hourglass Sculptures [Esculturas Clepsidra] (1997-2004)

    Natural forms made with blown glass. They contain coloured liquid that raises and falls thanks to a water pump hidden in the base. A timer divides the impulse of the water pump in small periods of time. The hourglass is the measure of time through liquids and is the oldest one ever known.

    Lima 1945- Buenos Aires 1997 (1997)

    Interactive audio-visual installation with variable measures (35 x 15 cm each object).
    Photos, voice digitizers, infra-red (IR) sensors, speakers, mirrors, acrylic, plastic.
    This is the last artwork I did with my mom and my grandmother (I worked with the three of us several years, applying different techniques, looking for repetitions, similarities and differences).
    The idea is that you can see my grandmother’s house in Lima (1945), according to her perception and listen to what she thought of those spaces. The original pictures were taken by her and they are of her house’s spaces, there is nobody in them and that is very important to for this particular artwork (unlike the other ones, in which we have several bodies each).
    Behind the photos my grandmother writes and my mother reads what she wrote. The little boxes are not very big so you have to look at them closely. With this approach the sensors capture your heat and activates my mom’s voice that tells you something about each room. Besides listening to it, you are able to read the text because it is reflected in a mirror.
    I like that the only present body and in present and time is the body of the spectator, and that we three are diluted in what it’s seen, thought, said (we are not even included in the pictures).
    It’s like an operation of failed resurrection, a poetic Frankenstein.
    I choose this artwork because I still like it, and because it’s been a while since I last seen it due to the fact that it now belongs to the MAMBA collection and I would love to see it again somehow.
    Marcela Mouján

    Mom, mom, grandmother, grandmother, I and I finally on holidays [mamá, mamá, abuela, abuela, yo y yo de vacaciones por fin] (1997)

    Collage and digital painting.

    '1970-1995' (1995)

    Double portrait (mom and I with my mom’s age in 1970). Photograph-serigraphy placed over two tensed and overlapped silk screens (meshes).

    “Natural Symmetries” - nests [“SIMETRIAS NATURALES”-nidos] (190 x 125 cm.)

    Photograph intervened.