1,2 Volumen

Daniela Libertad


What does volume mean to you?
Wide, long and deep.
A bouffant, the hair combed back.
To see yourself in the mirror in profile.
The air that inflates, the voice that raises words.
A muscle that grows after repetitive movement.
A sound that rises; a scale of intensity.
What thickens. What thins. 
12 lines that together draw a cube.
A whisper, a scream.
A confusion of the mind.
A lead weight in the stomach when you receive bad news.
An awareness of our own limits.
A passing moment.
One of the magnitudes that results from thinking about the relationship between space and mass.
A problem of scale, distance, range, of our ability to see and imagine matter.
A constant zoom in and zoom out.
A point, a line with issues of containment.
The scope of an eye, to stretch the arm, to take a few steps arriving or leaving, allowing the gaze to cover, to approach or to focus.
What is visible in the boundaries that contain something I’ve never seen from within. 
What is disguised so it can be. 
What thickens the veins, making pulse visible.


How do you define sculpture?
Something that is recognized while walking in circles.
An opportunity to go around.
A constant circular, uncertainty.
An inability to complete the gaze.

What else, aside from material, can create volume?
All matter creates volume.


For the viewer, what do you think is the difference in experiencing 2D versus 3D artwork?
The problem for me concerns presence. I’m less concerned about dimensions. I would say that in both the three-dimensional form and twodimensional form there’s an issue of presence. I think that presence is different at all times, the senses that we use ‘to be preset’ change along with the way in which we use them.
The gaze, for example, is different when looking at a picture than when looking at a video. The eyes do not act the same when looking at something that moves as compared to something that does not. And what to say about the eyes! Our mind goes off in different directions when looking at something moving versus something static.
(Another type of movement)
Then I start walking; the body moves, I try to round the object that lies within in the
room. One’s gaze has to accommodate, adjust, resigned to one’s inability to construct a whole from a single point of view. It can not really be seen if they eyes are not ready to put the pieces together, constantly accommodating, rebuilding that which has already been built, tiring at times. To quote Norma Barragan, “we only comb that which is in front”, we look at ourselves in the mirror and worry about fixing ‘our front’, there’s no such worry for that which is behind. Perhaps this is because we don’t always have two opposing mirrors to create an infinite perspective that would allow us to see the back while we look at the front.
Perhaps we are only used to looking at the front. Even if we perform a “back bend” (the gymnastic pose) we’ll never be able to see the back of our body unless the back of our body can see (by having eyes in the neck) ... Valie Export, Dan Graham, and many others had been aided by “the other eye” (the camera) in their exploration of other views of the body. It’s a problem of simultaneity that is incomprehensible. I think that this one of the many questions of sculpture—one’s inability to surround something without moving. This
body of ours... 


How does the creative process change when working with volume?
I believe volume ask for a certain type of attention. To work in volume one needs
to be more present / conscious of weight, height, width, and mass. One has to give more attention to a volume’s limitations. The skin, for example, is what restrains me and separates from the rest, it gives me the opportunity to understand a chair or a table differently.There are spaces in between my own volume and that the object, these spaces grow or widen depending on one’s position and movement. Distance and halfway points are also indications of volume.. When I draw or make videos, my attention generally is concentrated upon what is seen in front of me on a flat surface. The image moves, the white sheet of paper. Nevertheless, even that which is flat has issues of space; and I dare say, that when there are spatial issues there are also issues of volume. So, how and from what perspective do we understand volume? These are the questions that I believe are fundamental throughout the exhibition.


How does light affect volume?
It creates heat, combusts, causes growth.


How do objects affect the space they inhabit?
What power might they have within a space?
The power of objects in space . . .there is the aspect of an object’s manipulation of space and its coexistence in space that interests me. A cup that sits at the edge of a table, a piece of lint in the eye, glass marbles on a floor, flowers in a room, a pair of shoes that squeak when walked in. I believe that one can talk about the
power of objects in space as multiple layers of tension that both create and occupy a space. I think about the senses and, in the face of all my academic training, I always approach things from an intuitive perception. If I close my eyes everything changes and it is more difficult for me to respond to things. If I close my eyes I have to begin to listen, touch, smell, and taste. For example, if we consider just hearing or listening, we can see that one’s understanding of tension and power can be completely different. In this way I can ask myself what are the objects inside of a sound? What are the tones, frequency, vibration, timber, and
intensity of the sound wave? Where is the space? What is the tension like?