Deterioration and Power is constructed within the framework of a set of experiences, ideas and images from the artists' personal relationship with displacement. From an idea as vague and powerful as memory, they both generate a topography in which their interests and previous works a retranslated around the presence of the body and the remanence of memories in a poetic dimension.
ln the case of Carmen, her works are in constant negotiation between the natural and the architectural landscape of the city. The process of painting with avocado and the transformation of the decomposing fruit into ink exposes a process in which a corrupted matter acquires a metaphysical dimension and is redefined by a new context.
Mandy, meanwhile, proposes a correspondence between the territory of Palestine in constant turmoil and the social climate of Bogotá, in which modernity and complex rural systems are in permanent confrontation. From a complex relationship with her Arab heritage, which is manifested in a series of calligraphies, the artist questions the power relations in the occupied territories of Palestine and the pathologies of the bodies.
Deterioration is understood as a natural movement in which bodies are in a constant process of transformation and notions such as empowerment and decolonization are present through an eschatological vocabulary. Matter in a state of crisis is transmuted and acquires new dimensions. ln Carmen's work, vegetables are subjected to processes of chemical alteration to turn them into pigments and in Mandy's, the proximity of organs and fragments of inert bodies are transformed into abstractions that evoke maps of territories.