I am interested in communicating. I started in art precisely because I didn't know the words to express so many things I had to say, although what I generally want to say transcends the physical plane.
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My current work focuses even more on the intangible, proposing intersectionality and transdisciplinarity that allows me to expand the languages with which to communicate, apart from the pictorial realism with which my works are recognized. However, I work around figuration, because in my definition of the invisible, the visible is the limit that prevents a work from being infinite.
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I intend that those who enter the exhibition halls are not the same ones when they leave. Although my profession is a work of art, I consider my work as a social work. I seek that the messages around which I work have a humanistic, spiritual quality, in order to provoke introspection, promote a process of change, albeit a very subtle one, at some level of existence.
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My inspiration is internal, but motivated by society. It is important for me to respond to a reality of the moment. I am inspired by the fact of knowing that, in some way, with art I can transform people's lives.
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With this, I deeply believe in the democratization of art and the promotion of access to contemporary art to sectors of the population that are normally excluded by the art world. In relation to this, I am very interested in the mediation and tools of the mainstream applied to artistic concepts and proposals, in such a way that through reaching the popular media and spaces, a broader transformation can be provoked and not limited to the music scene. art, as is common in the museum circuit.
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After 300 meters of travel of all the participants together with Evo, the musical piece changes for the composition of Rachmaninoff, Elegie de Morceaux de Fantaisie (Op. 3 No.1), with a twisted sad melody, almost like a funeral march, as a life as it is without being aware of ourselves, without finding ourselves, in the “fantasy” of being alive.
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At Man Yu's 1st signal: "There is no suit heavier than the human suit", all the participants take off their shirts and Evo "undresses" from his jacket and finds his full nude tone underneath. Then Man Yu gives a 2nd signal: "Let's look at the sky together, as if realizing that we are prisoners", everyone looks up for 5 seconds. It was a small gesture during a brief moment, yet very powerful. It is about collective awakening. At the 3rd signal from Man Yu: "let's leave our heavy bustle behind", all the participants undress completely leaving only their bandaged heads and their human suits exposed in contrast to Evo, who, although he has taken off his clothes, really does not undress for he will never succeed in his endless self-search, evidencing the difficult and painful introspective struggle to find himself.
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The reason why they are complete nude is for the clarity and fidelity to the concept that the body is just another garment, or it is the garment. Therefore, the work must be honest and pure. Each participant battles against himself, his fears, his demons. It is a critical moment in which they have nothing more but to love and cling to themselves as a being, not as a body.
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Everyone continues the tour, dancing, walking upside down, in reverse, moving freely, following their emotions and music. Evo steps forward and arrives at a plaza where he finds an enormous nude-toned fabric spread throughout the space, in which he positions himself in the center of the fabric and ties it around his waist, forming a large skirt. In that, Rachmaninoff's piece ends and the guest musician Antisense, who was also the composer and interpreter of the musicalization of the videomapping work of Traje Humano, performs live the Theremín, a powerful experimental sound piece while Evo dances with his great skirt and the naked participants go around the edge of the canvas.
Man Yu gives the signal and says: "We are one skin, to shake our trajines, our worries, pain, illness, sadness, loneliness, all our fears ... None of this represents us!" and the naked participants energetically shake the canvas as a visual metaphor of an enormous skin, for universal collectivity, and for the empathic ability to feel the trajines, marks, wrinkles, scars of other people as a single being.
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The Theremin was chosen, which, unlike other musical instruments, is played without touching. This does not mean that the body is not necessary, instead it means that it is not the mechanics of the body, matter, mass that come into play, but the ability of the human being to generate electric fields that makes it possible for the theremin to generate sound and silence. The acoustic environment climaxes during the shaking of the large canvas, creating an almost galactic sensation - as a sign of awakening, representing references in different spiritual beliefs about sound. Then, in an instant, at the signal from Man Yu "let's go inside to find ourselves", the participants crawl naked under the canvas, suggesting the abandonment of "individuality" and the formation of "one being" under a " same skin ”. Everyone shakes the cloth from below creating a magical visual effect on Evo's immense human costume that covers the entire plaza.
A few minutes later, the fabric remains completely still, the Theremin stops playing, everything is silent again and Evo, in a dramatic way, begins to energetically pick up the fabric, revealing the participants under it, now dressed, who are lying on the ground - unconscious - back to daily life and individuality: dressed and dead while Man Yu says:
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I brought love, I'm not this suit
I brought faith, I'm not this suit
I brought strength, I'm not this suit
I brought life, I'm not this suit
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Man Yu encourages the audience to shout the phrase: "I am not this suit", and while insistently repeating it, she falls among the participants as part of the mass, of the inevitable collective unconsciousness.