THE CONSTRUCTION OF IDENTITY
Hara is an alter ego, a performer. She was born from a deep need to integrate with the environment through art pieces. Hara´s drive is introspection but also has the need to bond and communicate. This name means the redraw of the senses from sanskrit pratyahara.
The use of Language forces labeling and labels come with intrinsic connotations. During a project called Refuge she started working on the construction of a safe environment to contain herself: the result was an original language inspired in the simplicity of nature. She follows her own organic logic to create sculptures and installations. In the archetypical image of the nest Hara starts questioning labels and context in the Art Market.
A smaller environment of the self is the body:: skin divides and protects us from the environment and is the largest organ. In The Lady of Cao Hara is inspired by the ceremonial burry of a pre Incan Moche girl raising up gender identity issues. This performance ritualizes the birth of awareness, and questions our need of attachment to shared aesthetics.
Conchuda was an installation created for a site-specific project and got its name from the female quality of the boldness to behave or speech. A shell carpet is displayed in the floor and the atmosphere is surreal feminine. In an intimate and domestic scenario Hara treats the guests with fried eggs while inviting them to step into the piece of art and digest it in a deeper level :: as a manifesto against automatic biologic reproduction.
In Ich bin hier she maps human relationship with space, through salt drawing during a traditional Academic ceremony later motivates awareness by direct verbal confrontation.
Hara is a historian, an anthropologist, a scientist and humanist searching for the ideal of unity. In OA+ (Rote Faden) she flirts with the symbolism of the color red in the search of a connecting thread.
Biology unifies us and through our vessels our essential nature flows. In Don´t play with something you should cherish for life Hara´s ecological pursue of a sustainable Lebensraum emerges lightening up a simple phrase suggesting a need to shift concerns.
By encountering nature she updates herself with spirituality and becomes a mirror. She is an activist who chooses to perform; conscious and creatively. Research about Art Therapy and Behaviour Psychology drives her to create The Wedding Dress Series.
In Its my party and I cry she ritualizes a chocolate cake decoration and holds social interaction while pointing out Sugar and Theobromine consume as stimulant and addictive. She encourages the use of aesthetics and motivates a subliminal digestion of conceptual association.
In Fukushima her body is identified as a medium of divine expression. She proposes art as an antidote to a dormant society using holistic practice as a collective method. To heal through energetic exchange and the power of mindfulness.
In Play Rec Hara forces a primal encounter with her biologic quality by bringing her own weight in sand to the gallery space and then moving it to the street. It is in this everyday public space that she uses the energy of attention while having taken a blood sample to questions our perception of fear and pain.
Through the video art Codependency she exposes duality of existence and addresses the urgent need for introspection. The performance appeals to our senses questioning the instinctual craving towards endless cycles of patterned habits.
In Mamachas conventional context and frames are consciously rejected by crashing the art piece while enunciating words from a dictionary. Through this series of shell interventions, she blurres the borders of art frames and pedestals. By celebrating the destruction of the piece she is embracing mortality and evidencing the characteristic of impermanence. She searches for transformation and creates her cycles based on an organic logic that emerges from the core.
Hara attempts to create a neutral space wearing a white dress, despite the bridal connotation; she feels performance as a ritual practice, a way of committing to her human quality. She is comfortable with this playful and maleable character. While acquiring a shade of color she anticipates a change of direction on her future practice. Violet To Blue. Transformation.
During a deep research about Textile and specially on Weaving, Krama reflects about patterns and universal language. Through the use of textile she highlights the importance of material culture in such mobile context and questions the contemporary process we are experiencing. Although borders between analogue and virtual sphere are very diffuse; we are witnessing humanity's shift towards the technological era. There is already a unicode for computer programming but will this be enough for human communication? A reduced language allows a reduced culture.
Both Hara and Krama are inspired by nature. While Hara is always introspective in the quest for balance Krama is always observing, crossing fields and trying to enrich its humble experience.