VICTORIA YANEZ

2000, Hermosillo, Sonora – Mexico.

A young talent, get involved in the art world when she realized her notebooks were covered in her own drawings.

In 2016 starting get trained in local art workshop during her studies at high school.

Artistic projects experimenting with colors and paintings techniques. Looking for psychedelic patterns in her fluid art.

In 2019 step into the Master Class in Visual Art at the Accademia D’Arte AD’A.

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La Silla (in Spanish, the chair) is a video work that shows in a direct and symbolic way a condition of discomfort, constriction and pain; the artist sits on an armchair, at the base of which there are some vegetal roots, in an internal environment of oppressive appearance; she is observing with an empty look a television in front of her, turned on but without signal. The action (or non-action) continues in this way until the arrival of some sounds (but we cannot say if what we hear corresponds to what she hears inside the scene), these somehow shake the artist to perform an action: get up from the “grip” of the roots and shake, then drag with great effort towards the screen until she can turn it off, and get close to a plant, finally to a cage with a small bird inside. The hands and the action suggest that the cage will be opened, but we don’t really see it: after a stasis, there is a change of frame (the only one) to show the bird in the foreground.

“La silla is about been sitting down on depression or another toxic state (comfort zone) for a lot of time that you get used to sit there, your vision is hypnotized, you are sunk on that state so you feel you have become part of it. Hopelessness. A signal from somewhere is calling you, telling you to wake up, to stand up. It is very hard to stand up because roots have grown. You know it’s time to stand up. You are weak and you just want to break the thing that has been hypnotized you all this time. You turn it off someway, you end the misery, and you surrender. You keep listening to the sounds that woke you up, but it feels different now finally you can see the light, you can see the beauty of life, you are no longer a slave you are no longer sunk, you have no roots that are pulling you down, you finally see”.

The style of the video work, recalls some cinematic atmospheres (think of David Lynch’s first period): the unreal scenography but lived as if it were realistic, the use of black and white, the strong contrasts of light – which change in the course of the action. The artist also places himself in a dimension that has an obvious relationship with performance art.