Emulating the process by which the mud is washed to obtain gold from the Amazon River, the video reveals the particularities of the conflict surrounding informal mining in Peru. The title refers to the Peruvian virgin forest affected by the mining tailings and mercury poisoning, inevitably revoking its virgin status. Starting from a simple action, the video attempts to describe the complexity of a conflict, product of the government’s neglect of the area.
“Painting” is conceived as a narrative piece with an Aristotelian structure, which revolves around society interdictions, and serves as a starting point to raise questions about the multidisciplinary characteristics of contemporary art. “Painting” has a deliberately slow pace that allows the viewer reflect on the content of the work, conceived in a pictorial manner, based on the tradition of chiaroscuro, focusing on the contrasting atmosphere in each of the environments where violence is depicted.
The author questions the role of contemporary art as well as his own, using Georges Bataille’s 1949 essay “The Cruel Practice of Art” as a conceptual framework. In the video, he arbitrarily takes words from the text and prints them with ashes on his own hand just to blow them into the wind, in an almost poetic act. The title, “Tempus Fugit” (time flies) refers to the ephemeral character of the constantly changing conceptualization of art and its visual analogy in the video.