Memories and executioners

The craft of sanding often segregates or undervalues one of the two outcomes of the work: the residue, the fallen body, the disregarded negative, the removed body. Sanding is done to smooth and eliminate barriers between two material forms. It is done to transform, shape, and separate. Thus, sandpaper becomes a form’s executioner, and it bears the mark of its action, like the violent act in its memory. The collection of these tools, after their use, does not aim to rename or recontextualize their lives but to show the evidence of work based on the decomposition of form, the dismemberment of a body. These memories of scratches and wounds are the imprint of a fortuitous drawing, created with the victim's skin. And between both poles remains the hand, the muscle, and the sweat of the craft.

The harvest of obsolete and relegated pieces comes from the author's workshop and from various workspaces of artists and craftsmen where sanding is part of the process. Collecting these elements from different origins, a curation begins that selects and assembles them to create authorless drawings; collages of abandonment and the time of work.