After an overwhelming emotional crisis, I began a psychomagic sequence of images, adhering to what Derrida called ‘Feu la cendre’ (the dead ash). I am communicating to the fire with what remains after life has done its work; my series is an act of entropy and physical, mental, real and imaginary exhaustion. Well, what remains, after what has been lived? The ashes remain. Abandoning myself to a link, at the same time tortuous and necessary with my past, coupled with the overwhelming crisis of cynical violence in my country of origin.

The ashes in my work are linked to fire (the death), but also to life, they are the being that recognizes itself and its context, consuming itself and leaving only what it was. I am through my work a testimony of the self fading, my thought and my destiny is made of fire and ashes.

My photographs are stained with a kind of gray scum that indicates, as if with the tip of the finger, a past presence. They are a mortuary. Through the passage of time, I have self-immolated my work until it was stay silent. Representing the fragile and restless imprint of my mental state during the last ten years of my life, from my adolescence to adulthood.

In «The Rage of Devotion» I interspersed pictorial canvases and photographs from my family archive to impel the viewers to immerse themselves in my psychology. The piece is a voodoo project, capable of reconstructing a part of the personal and contemporary history of many women, willing to emancipate themselves from the social structures that have been predisposed for them. Through written narrative, psychological manipulation exercises, against spells, self-portraits and image associations.

Just as Hamlet begged the specter of his father: “Rest, be still. Stay dead and stay there”. My most intimate wish is that the ghosts that inhabit me will never return. The problem is that the dead, the names, the ashes, do not stay there. They do not stand still. They do not rest. Well, as Borges wrote, “names, words, phrases, ghosts, seek us, besiege us, persecute us”.

My work is in response to that last curse that my mother cast on me, and that involves an thorough investigation of my ancestors, revealing the fact that the women of my family have practiced witchcraft for several generations, with the desire to harm other women from the same ghetto.

I consider the act of bewitching as a form of psychological defense against some symbols of ‘machismo’, but after its excessive permanence and intense belief, it degraded in the case of my family, in madness, manias, phobias, depression and schizophrenia. The effects come from the “syndrome of the bad mother”, investigated by psychoanalysis and inherited epigenetically.

In my photos, the women are represented as immortal and immoral beings with supernatural powers, which mark their symbolism and personality through the elements of nature that surround them. They are smart, intriguing, and distressing. While the men seem to always be at risk. In my stories, the feminine is threatening because it seduces and in the poetics of seduction it devours.