your glance is the propeller that spins and drives the ghostly mobs, 

your glance is the fixed idea that drills through time, the motionless statue in the plaza of insomnia, 

your glance weaves and unweaves the threads the fabric of space, 

your glance rubs one idea against another and lights a lamp in the church of your skull, 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

your eye is a hand, your hand has five eyes, your glance has two hands, 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

we must populate the world with eyes, we must be loyal to sight, we must create in order to see.

Octavio Paz: For Roberto Matta, The House of Glances

This project explores stereoscopy in video, not as a way to reach three-dimensionality but as two separate visions. The bridge that unites them both is psychoanalysis and dream interpretation. On one side, there is the content of the dream, while the other expresses an autobiographical narrative that explains the content of the dream and the magical symbolism of becoming a woman by the loss of an arm.

The stereoscopic glasses allow the viewer to watch “hidden” contents of a narrative, by “watching” beyond the obvious, unraveling meanings just like in a psychoanalytical process.

This video piece works with this gap in a very instinctive and ambiguous manner. Displacement in vision plays an important role in the participant’s interaction. Whether one reads both channels linearly (one after the other) or bits of both from the in-between of the visual and textual interpretation (with one eye after the other), a sense of loss or nostalgia is purposefully intended.

Pixillerations [v.5] Part of First WorksProv
191 Westminister Gallery. Providence, RI