Mané Pacheco (b. 1978) presents a post-extractive reflection that puts different types of relationships in conflict. Organic and synthetic materials - such as wasp nests and fiber optic cables - mark dualities, adversarial and complementary mechanisms in the encounter of the natural with the artificial. Her hybrid creatures and unknown beings haunt and seduce the viewer at the same time, directing the movement of the body and gaze along the path.
The pieces involve us and create a visual device somewhere between the primitive animal and the sophistication, even eroticism, of objects easily usable in bondage universes and rituals, including sadomasochism. The creatures transform into objects. It is not clear where one begins and the other ends. Perhaps it is not important. What matters here is a certain strangeness that occurs in the act of enjoyment, and that becomes strong but difficult to define. But definition is not crucial. And we could continue in this game of perception-definition. It is a more or less subtle metamorphosis that happens without identifying a beginning and an end. And this proposition of transitive spaces is unsettling, and in a way, with some degree of exoticism and primitivism.
The nudity of the pieces exalts animal and industrial materials and objects in general. Suddenly, it seems that we are facing the possibility of these creatures coming to life and compromising their distance from us. The most remarkable pieces are the hanging ones. Referring to a room of mysterious, perhaps ancient and violent rituals. Or not. But there is indeed a certain carnal primitivism that is evoked, though not overtly displayed. The viewer is subtly invited to enter this universe and be guided by it. Between fantasy, the fantastic, eroticism, animalia, rubber, metal, our skin imagines the touch of these objects that also seem to desire us to touch them back.