words

...” The tactility of distressed surfaces - pavement, warehouse doors, the walls of shabby
houses- impels Cárdenas almost erotically, as if flaking paint and rusting joints provided
her an ongoing narrative written by humans and rewritten by nature in an elaborate Braille
palimpsest. “....  Peter Frank, LA Weekly, August 23 2006


Through my work I want to explore the experience of memory, relocation and displacement by documenting architectonic, urban, and natural surfaces of the places I inhabit at a given time. I work in a "sculptural" way without making sculpted objects, and that allows me to engage to a particular place and all the confluences and dimensions within.
I did a series of work documenting and collecting architectonic and urban surfaces. It is a very simple gesture: a piece of adhesive vinyl glued to the space and then peeled off. With this process I get -otherwise intangible- fragments of a specific place.

The resulting image becomes a map that describes the inevitable interpolation of both Space and Time.
I want my work to provide the experience of being in some sort of tension, an edge, a border, a sensation in-between. Ceiling, corner, wall, stain. The actual touchable texture of the "container" or place. Our body is constantly establishing and resolving those notions: contained and container, inside and outside. I'm very interested in this research, the recognition of some of the layers of meaning that happen among the interaction of body, matter and place.  My process is "site-responsive", it takes in consideration the architecture and the context of the surroundings by investigating a view of the socio political implications of context and place, generating a layered outcome.  I like to think that it is work made with fragmented evidence of a continuous social-sculptural incident on the surface of the world.

statement intent from a scavenging reconstructionist