The common writing
The question that arises in a project of this nature lies in the fact that the guests practice different “languages”, with their own “vocabularies” and, normally, without connections between them. Thus, the “language” of a plastic artist is not the same as that of a musician or a businessman, nor is the “language” of an architect the same as that of a film director or a singer. However, for the project to have coherence in the “language”, it is necessary to find a “common language” that can be easily used by each guest.

Pillow Books & Polaroids

The final project results from the combination of these two elements, Dei Shonagon's book and Polaroid.

Each guest is challenged to let us see what their Pillow Books are and through them we get to know a little more about each of them.

Channeling the injuries brought on by the pandemic and the further erosion of democracy, I ripped the original portraits to create “wounds” reflecting individual and collective trauma. Inspired by the Japanese practice of kintsugi, an ancient craft that repairs broken pottery with gold lacquer, I restored the torn portraits with stitching and golden rice paper. Metaphorically, kintsugi honors the acceptance of injury as part of the object's life and gives material form to the history of experience. We acknowledge and pay attention to our violent past in the future so we don't repeat it. These injuries are our losses to be witnessed, mourned, and transformed into social justice.