Black Dream Place
The act of crossing a boundary is a personal and collective one that binds us as humans. It is an experience embedded into the fabric of our myth, memory and decorum. Historically, the entrance or path in a crossing is often veiled in mystery and upheaval of perspective leaving the individual transformed. In Black Dream Place, an allusion to the 10 days when the hero journeys into the earth-the underworld, Valderas confronts the audience with a virtual border requiring carefully steps. The placement of a video animation movie titled "TrainRiverTracks" forces the viewer to take and action.
gesso & india ink on black paper 2015
site & time specific installation- latex, styrofoam, aluminum tape, mirrors 2015
site & time specific installation- latex, styrofoam, aluminum tape, mirrors 2015
site & time specific installation- latex, styrofoam, aluminum tape, mirrors 2015
site & time specific installation- latex, styrofoam, aluminum tape, mirrors 2015
site & time specific installation- latex, styrofoam, aluminum tape, mirrors 2015
video installation 2015
site & time specific installation- latex, styofoam, aluminum tape, mirrors 2015
The audience must enter this portal while confronting a multitude of fronteras. The sacredness of the act is acknowledged through forced attention to the floor to make a careful step, much like all crossings, an unnerving and disquieting situation. Using still and active video animation imagery that is an amalgamation of ancient and modern iconography Valderas presents an experience that is meant to unsettle and rattle memories of stepping across all kinds of borders —an experience that transcends.
“a site specific installation must be addressed as an ofrenda. It must venerate our ancestral and future sangre by considering both past and future realities as contributors to the present. It must activate semantic links in the subconscious of the viewer that spark memories leading to a blossoming of realities. It is then, that it makes a significant impression upon an audience.” —Luis Valderas 2015