One hundred thousand people are missing every year in Brazil, of which forty thousand are children. Most of the disappearances start as escaping domestic violence, and children from working class families are more vulnerable. The enigmatic disappearances seem to be more dramatic, because children are taken off the streets and from their homes without a trace.
These crimes of postmodernity, lead me to think about the possibilities of using art strategies to translate the inhuman, the absurd and the epidemic of fear in this era. My interest is in collecting traces of violence in our postmodern world to draw attention to the insidious nature of our flawed humanity. As if searching through the debris of dreams or nightmares, I try to pick up the pieces of a story, rescuing it from oblivion to reveal the obscure side of humanity, where shock, trauma, and forgetting are part of everyday life, and malignancy becomes banal. My interest is not in the act of remembrance, but rather the memory of forgetfulness.
I become a collector of stories about violence and an inventor of memories. The impossibility of locating a missing person launches me into an imaginary world. I begin creating stories because we are not certain of anything. There is no proof. The outcomes are uncertain and I am forced to use fiction. The only truth is the disappearances. Like a detective gathering the pieces of a puzzle, I try to read the traces of identity captured at the moment prior to disappearance. The stories, objects, and installations, can represent this moment of absence, transformed into mute testimonies of those who were taken away.