Where did the idea for the Mediterranean voices come from?
It all came because you are always connected, you check the newspapers and see what is happening all over the world… Early from the beginning I wanted to try and use, as a resource, something which would make you stop and think. Ultimately, it is a subject with which I am sensitive and I wanted to follow that lead... At first I didn’t have all the information I have right now, and that is sort of the point when you decide to start a project, to look and to nose around... Actually, it is at that moment when questions about basic things such as the number of deaths or when it all started begin.
Why Mediterranean voices? How do you reach the concept for the central element in this project?
I thought it was a good idea to give it the name “Mediterranean voices” because those are really the lost voices, the voices that stayed there, people who died and didn’t have the opportunity to get here. Men, women, children... In sum, families taking risks to try and find a decent life...
I wanted you to be transported, at all times, to see this situation reflected, since it can be really appreciated through the production behind it... In particular the glass piece, with those curving shapes that reminds us of the sea and the fragility of those lost lives.
How was the creative process developed?
When they told me that my project had been selected I encountered a problem... Now what? I hadn’t worked with glass before, I didn’t know which process to follow in order to make the piece or how the drops dripping would work, because once you find yourself in the conceptual process of the project, doubts arise, but if you are excited with one idea you keep going even though you know “problems” will soon follow... but it is also the fun part of the process, where you keep discovering new ways of doing and it adds to your knowledge of things you didn’t even know interested you.
Before starting with the managing from Aigües Vic, I was very lucky because they put me in contact with Dadá Comunicación, who gave me their impressions on the project. The most difficult part was how to make the actual piece, and while researching the handcrafting world I contacted 40 Plumas studio, who made the piece adhering as far as possible to the design I had presented, despite the complexity of its production.
My idea was to present a piece with a dripping water circuit and a counter for the drops, each of them symbolising every death we have had this year in the Mediterranean Sea. To make this, Juan Carlos, the engineer, helped me bring the piece to life so as to be able to experiment with the dripping, the counter… to create an experience around it.
This way, the assembly was tied up and the only thing missing was how to integrate this intervention in the provided space... and here was where the lighting role started, helping me play with its shape and adding the presence that I needed inside the exposition.
How did LEDS-C4 help you? What is the importance of lighting?
As I said, it wasn’t until late in the project when the lighting took place. Seeing as I needed the whole assembly to get the attitude it was missing in order to remember the whole concept behind it, I understood I could achieve that with lighting. That is why I talked to Pere, who helped me in the process. From the very beginning it was clear we had two important things to consider: the actual piece standing out over the rest and the challenge of integrating it in the exhibition.
This is the reason why this piece only has a projector which goes down on an almost zenith way, adding the needed drama while playing with the volumetrics, and most of all with the reflexes thanks to the interacting of water and glass creating its own light body. It was then, with the perimeter RGB led band, that we obtained a bath which helps us bring people together, working as a perimeter… Playing with RGB also allows for the glass colour to be related to it without resting importance to the light making the piece stand out.
At the end, what we achieved with lighting was to transmit, through the exhibition, all the power of the intentions behind it.