Lullabies (2026), a series of prints from the Epistemic Barricades series––
sculptural works consisting of stone and rock fragments that the artist has
grabbed from historically charged sites and wrapped in leaves and flowers
of Master Plants*–––further reinforce their power as their alkaloids are
invoked in close association to the historical event. The fragments are
mineral testimonies of Capitalism’s exertion of violence across the world.
The Monumento a los Héroes in Bogotá, the Palácio de Cristal in Porto, or
Wall Street in New York City are a few examples. In this new iteration of
the series, Bonilla has made photographic inkjet prints of a selection of
sculptures and written an indication of the fragments’ origin and a newly
coined term that features selected minerals and alkaloids present in both
the rocks and the plants respectively, invoking the presence of a symbiont
between vegetal and mineral realms.
* Master Plants are sacred teacher plants used by Indigenous peoples in Abya Yala
(Americas), as well as by hybrid peasant/urban communities for medicine, counselling,
and the incorporation of situated knowledge.