"The embroidery machine facilitates a delicate and yet frenetic pace. Every time I sew, I connect the tension of my foot on the pedal to the movement of my hands as I guide the fabric’s surface into what I want to draw."
These anthropoidals coexist in a habitat devoid of any established human law and where the relationship between their different personalities makes them react intuitively. In this habitat there is symbolic representation of differently created stereotypes, representing social values present in human groupings. These are creatures that are funny, frightening, incongruous-looking, part human, part animal, and intentionally grotesque. The anthropomorphic aspect of the pieces is the animal that wants to become human. My use of stocking make them appear crude, more visceral, as if the skin had been removed to reveal what’s beneath, to expose the rawness of tissue and blood. Indeed, it is the grotesque nature of these pieces that is meant to invite deeper explorations into the true nature of the character, a repulsiveness that seduce the spectator to reexamine his or her own psychological vulnerabilities.
I dealt with the everyday lives of the elderly in our postmodern society through a series of works ranging from photographs, videos , sculptures, street art and installation to curatotial work. In today’s culture the elderly are carefully hidden from society's gaze. Implicit Ageism explores the multiple issues related to society's dismissive attitude towards the elderly, reaffirming in the process the need to respect our elders. I examine this growing need to connect by focusing on individual narratives. Whereas society has slowly created “fictions” and “virtual realities” to replace the real, I instead direct the spectator’s attention to the everyday real happenings of ordinary lives.
This series explores the multiple issues related to society's dismissive attitude towards the elderly, reaffirming in the process the need to respect our elders. In this case specifically i documented elders on the streets of Fez, Morroco. In today’s culture the elderly are carefully hidden from society's gaze.
Pioneros is a kinetic piece. These 6 sculptures have robotics mechanisms that at the command of a voice "Pioneros por el comunismo" they react by putting their hands up to their forehead as a sing of salute and they respond " Seremos como el Che". Children in communist cuba grow up being "pioneros" and swear every morning they will grow up to be like Che Guevara. This piece resembles the sequel of learning, memorizing and often growing up believing in someone the regime idolizes. It is the consequence of brain washing kids and how that can create a wake in adults.
Aurora Molina examines the egocentricity that informs the phenomena of the "selfie" and the celebrity's desperate need for attention. She draws attention to the addictive nature of the selfie, the publicity fix, and creates a series of sculptures that project pop culture’s drug-like dependency on social acceptance. The selfie becomes a self-perpetuating social disease that feeds off of its own self indulgence and complacency, leaving little or no room for self-examination.
We live in a society that elevates the spectacle and encourages the intense glorification of the spectacle of the self- my life in your face - "el yo-ismo" - where sober self-examination gives way to aggressive self-indulgence, obsessive and pathological in nature. This is a culture in which celebrities set the bar and identities are fabricated accordingly.
"Everydayness" series reveals anthropomorphic creatures in a fictional urban setting in a society that sees itself as utopian in nature. In a compilation of photographs documenting everyday life and routines, teens taking selfies, elders contemplating protests, metro stations, etc., the construction of a cityscape emerges. Another dimension to the urban reality is the digital platform. For this series of thread drawings on fabric, Molina explores the contradiction and confluence of space and action in any society.The modernist model demands a new space within the social space itself. The intention of using thread to create this series speaks to a a woman's tradition and role in a culture dominated by hegemonic masculinity. The softness and delicacy of the medium dignifies a woman's opinion and presence in the social space.
Auguries are keen samples of some of the prominence symbolism of the birds, the crow foretells the arrival of a guest or surrounds you as you embrace darkness. Birds are omens of luck in pagan religion and in alchemy they are mystical and are symbolic of magical endeavors. Humans have given a vast symbolism to birds from fleeting to transitory and this has remain in the human psyche and that’s maybe the main difference between birds and humans, because we are not ruled by our unconscious mind.
Natural disasters have always been part of the artist’s repertoire from neo-romanticism to the dialect of nature and modernity, to the point of great obsession with modernity and postmodern life where climate change in an orderly chaos is a word without dirt or a perfect world, at least that is what 96% of Floridians think when it comes to water sea level rise and the exponential development of areas that enjoy the front row in the water line, where mangrove use to protect us from the sea, creating a barricade, now the wall is pure concrete and is high in the horizon. Miami is (Th) Sinking deals the cards of the current situation and through the use of the silky beautiful thread attempts to make the audience understand that the sea that once was quite and calm is starting to gain its territory. The scenes are from with the area the is map in the backdrop, from downtown miami the epicenter of developing agencies to the inner city that is being pushed and gentrified. Miami beach is in the midst of fleeing all the birds and different species.