E.P: In this sense, I continued a research project which went from the individual to the home and domestic aspects, which, in turn, I related to prosthetic aspects and with the fact of understanding the city as a sick body on which there are growths and which at a particular time it is necessary to surgically remove and correct using orthotics and prostheses. These concepts, the correction or replacement of something amputated interest me deeply. Because I understand that the organicist view of the city understands a body with organs. Then, establishing a parallelism between the language of orthopaedics and urban language and within an environment with domestic aspects, the home, the house and, specifically in this exhibition, what I am showing are absolutely recognisable, everyday items of furniture – a table, a cot, a shelf, a stool, etc., which I deform by fitting them with urban prostheses, a metaphor of how the object has had certain functions amputated which are replaced by growing elements. The limit of the shelf, for example, is becoming faded because a city is hanging down. Here, other research processes are apparent, relating the contemporary city to those, anaesthetic, surgical, tumour processes. T.P: But why does everything refer to a sick city? E.P: Because the city is, in some way, sick; it is an organ which is continually undergoing surgery, acupuncture and new corrections and prostheses are being produced, elements which don’t quite work. The question of sickness has to do with the damage we are doing to the city, with social awareness that we are not protecting the cities and secondary effects are occurring (ozone layer, environmental pollution). All that makes a city sick, it becomes grey and its pulse lowers; then in some way Prótesis domésticas reflected on this.
Derivas de ciudad, cartografías imposibles //
exhibition Prótesis domésticas (Domestic Prostheses). How do you contemplate the domestic aspect in your work?