The Fantasy, 2022 - now

The Fantasy is a performance that reinterprets the Narcissus myth by placing it in the digital age. The work is generated using the performative body and the culture of the meme as a means of creation, so the narrative is developed from a fictional character who is obsessed with his image. This is part of porn, hypersexualization and femininity. It uses, at the same time, the concept of "clownery", making a direct reference to the new languages of social networks. We find the character represented as a clown who

leaves his category of individual to transform into a parody of himself with the intention of being desired by the public. As the performance progresses, it leads to a more unpleasant character who, based on scenic rituals, completely erases the canons of beauty, reaching an almost sickening extreme, representing an exaggeration of the system in which we live. It refers to the relationship that exists between seduction and consumption in capitalist societies, redefining desire as the quintessence of modernity. It is a critique of how sensuality has been established performatively with codes specific to the sphere of consumption and economic practices. People are reduced to products, located in a market dominated by social networks, which compete to obtain status based on the impact they generate. The idea is to create a dialogue with the viewer through morbidity, putting him in a situation of voyeurism existing in many corners of the internet. From here, find points where there is a relationship between hyperconnection and loneliness, two sensations that coexist in the technological age.

Sculptural prostheses

All the prostheses are part of an experimental process in order to create characters for another projects. This allows new possibilities to connect the body, the scultptures and new materialities.

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Ethereal objects collection, 2024

Worked in the art direction for a media spot for the glass artist Agustina Ros. We created and fantastical feast were the performers are the consumers and the objects to consume.

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Skins: The new livings, 2023

Skins is an installation made up of a set of sculptures made from recycled material left over from audiovisual productions. As a result of working for years in the advertising sector, the artist criticizes the accumulation and obsolescence of the objects and materials that big brands use for each advertisement. The work highlights the unsustainability of these circles of production and consumption in the environment and how it can change life on our planet as we know it.

The sculptural group represents a hypothetical landfill world where these obsolete objects are found. Each sculpture is the birth of a monster, using the concept of monstrosity as an attribute to everything that is socially rejected for not fitting into a canon, with it’s own ecosystem. Facing the monstrous helps us break with economic hegemony and propose new possible and sustainable futures. Skins generates a self-sustaining circle in which waste generates new life and new life does not generate waste, but mutates into other forms.

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Meritxell de Soto - Espai Segur, 2023

Exhibited at CCCB. With support of Sala D’Art Jove, Barcelona CREA scholarships, El Pumarejo and Sala Taro.

Espai Segur is a dj set/meditation that
invites bodily activation, whether of muscles; in the form of external movement or the nervous system; in the form of internal movement. Using music tuned to 432hz and post-club sound, suggests listening as palliative medicine for a possible path to healing collective.

For Meritxell I created a flesh-like scenography where she could dance and dj on. The latex piece comes from the floor and wraps de cdjs making the set a living creature connected to the performer.


Link to watch the full performance:
https://www.cccb.org/ca/multimedia/videos/endtrip-espai-segur/243276

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Kai Landre - Born Again, 2022

In this project I worked with Kai to create a scenography for his cyborg reborn. The process was followed by a material experimentation where I created different types of non-toxic slimes that covered his whole body emulating a tech-placenta.

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Bloody Mary, 2021

Bloody Mary is a performance created for parties and raves by the TORO collective. This piece takes place in the middle of the dance floor, where the performer, Mary, is covered in canton-colored slime, remaining motionless as the substance runs down her body until it reaches the floor. The work creates a viral scene that refers to the urban legend of Bloody Mary, in which a young woman must recite this name several times in front of a mirror, lit by a candle, so that the image of her future appears. husband or, on the contrary, of death. In Bloody Mary, the performer's body is used as a ritual object, with the possibility of resurfacing from wounds or dying. The performance generates a hypnotic vision from which it is difficult to look away, transforming into the idealized image of this lover that you cannot forget. This project not only explores the aesthetics of vulnerability and obsession, but also criticizes socially constructed expectations and desires around love and beauty in the digital age.


Mary LeRanch © 2023

Mary LeRanch © 2024