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Installations, objects with x-ray plates
I graduated in painting in Argentina when we painfully returned to democracy. The fear could be taken off like a winter coat: now we were finally allowed to express ourselves freely again, or perhaps for the first time, but I myself was paralyzed. How had we been able to live so blindly, deaf and dumb, while hundreds of people disappeared from our daily environment every day? It was only when I taught students myself that the joy of art returned and I found a language to deal with what had happened.
When Pat Binder and her students used x-rays as a print base for monotypes in art class, she became aware of the formal intensity of the translucent black-and-white images of the hidden interior of the human being. For her, the skeleton of x-rayed bodies attained the meaning of an existential sign of far-reaching symbolism. According to the context in which it was placed, and in combination with other elements in her assemblages, the possibilities of association varied within a relatively limited spectrum. For the most part, it deals with the martyred creature, the appearance of transparent bodies from the void into which they had disappeared without a trace; with an imprisonment or a macabre game, rich in associations, with single extremities as a process of fragile constructions. Blurry projections of single images on the wall behind them increase the drama and allow an superelevated, immaterial layer of light and shadow to materialize.