Work in progress

Videoplaster is a two-part installation about masculine love, transgression as an act of presence, and time as erasure. The two formats share the same space: one asks to be touched, the other disappears.

Love and Transgression

Plaster busts, backlit acrylic block — 2022–

Each plaster face is cast directly from a real person and embedded in a backlit acrylic block. The thermoformed acrylic shares the exact morphology of the mold — the projection maps the block because it was built from it. The cement becomes translucent. A face seen from inside, lit from within.

When the viewer touches the surface, the solid loses its certainty. The material appears to soften, lose time, dissolve.

"Do not touch," the museum says. "Do not touch," your best friend says.

Please do touch.

"Another man's masculinity explodes like a bomb if you touch it."

Work I — Love and Transgression Plaster busts, thermoformed backlit acrylic, video mapping. 2022–

Work II — Unfired Unfired clay faces arranged on the floor in a shallow water base. They were never meant to last. Over the course of the exhibition they dissolve — slowly, quietly, without drama. What the viewer sees on opening night will not exist by closing day.

Like memory. Not destroyed — just slowly gone.

"You transgressed in order to touch. And time erased the face anyway."

Repetition as ritual — the ushebti logic

In ancient Egypt, ushebtis were funerary figurines multiplied to serve the deceased for eternity. Repetition

was survival. In Videoplaster, the multiple faces on the grid are not copies — they are accumulated

presence. A mass of bodies occupying the space that each one alone could not claim. In Work II, that

accumulation dissolves. Every face. All of them.

Medium: Plaster, thermoformed acrylic, video mapping, unfired clay, water Dimensions: Variable Status: Work in progress

VIDEOPLASTER

Amor y transgresión

Cada rostro de yeso es moldeado directamente sobre una persona real y embutido en un bloque de acrílico termoformado retroiluminado. El acrílico comparte la morfología exacta del molde — la proyección mapea el bloque porque fue construida a partir de él. El cemento se vuelve translúcido. Una cara vista desde adentro, iluminada desde dentro.

Cuando el espectador toca la superficie, lo sólido pierde su certeza. El material parece ablandarse, perder el tiempo, derretirse.

"Prohibido tocar", dice el museo. "Prohibido tocar", dice tu mejor amigo.

Please do touch.

"La masculinidad ajena estalla como una bomba si la tocas."

Obra I — Amor y Transgresión Bustos de yeso, acrílico termoformado retroiluminado, video mapping. 2022–

Obra II — Sin Hornear Caras de barro sin hornear dispuestas en el piso sobre una base de agua. Nunca estuvieron destinadas a durar. Durante la muestra se disuelven — lentamente, en silencio, sin drama. Lo que el espectador ve en la inauguración no va a existir el día del cierre.

Como los recuerdos. No destruidos — solo lentamente borrados.

"Transgrediste para tocar. Y de todas formas el tiempo borró la cara."

Técnica: Yeso, acrílico termoformado, video mapping, barro sin hornear, agua Dimensiones: Variables Estado: Obra en proceso