Ignacia is a two-channel video installation in which a single body is split across two screens. The images do not synchronize. They produce a figure that never fully assembles.

The work draws from portraits of crowned nuns in colonial Mexico, images produced at the moment a woman enters the convent. A final representation before enclosure. Before withdrawal from the social world into silence and devotion.

Here, that image is held open.

A silhouette stands in front of a window. A costume composed of white, blue, lace, and devotional ornaments. A rosary falls vertically across the body. A circular medallion rests on the chest. The head is crowned with a baroque arrangement of flowers. In one hand, a small dressed figurine. The body appears across two monitors, divided and misaligned, put under strain by the standing position and the weight of the costume.

The costume was entirely constructed by the artist following a close investigation of colonial iconography. The figure is performed by the artist’s mother.

The two videos were filmed at different times. Each carries its own sound. One holds an interior acoustic, contained, almost suspended. The other brings in the exterior, the street, contemporary Mexico. The present enters the image and disturbs its historical frame.

What should mark a passage into erasure instead accumulates. The image does not resolve into devotion. It holds a body that resists disappearance.