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Super Natural Humanoids at Pompano Beach Cultural Center | Art Loft 810 Segment

Super Natural Humanoids at Pompano Beach Cultural Center | Art Loft 810 Segment

Basically, when I saw the high ceilings, it
was like, “What can I do here? “What if I do a box of puppets?” It’s pretty much like a puppeteer show. My name is Julian Pardo, I’m a guest curator
here at Pompano Beach Cultural Center. And I am Aurora Molina, I’m an artist from
Miami. Julian called me, and he said there’s this
space, and I’m very open to always collaborate. He’s a dear friend of mine, so we said, “Okay,
tell me about the space.” We considered that we wanted to do an interactive
installation. My grandmother was a seamstress, so my craft,
all that attachment to the thread also brought in part of the making of the work. So I think it comes from a personal exploration,
to dealing with my grandparents. I started to do a photography series, sort
of like capturing their daily routine, and then I left to Spain to do my master’s, and
I sort of like started to pay attention since I was away. And they were 90, 92, and I think I was getting
ready to sort of like go. My family had been very conscious about taking
care of them, so they were with us at home and very involved. And when I left, I think I had that longing,
you know, they were left behind, and I remember just looking around and having these moments
where I was realizing how detached we were. And then I was traveling to other places,
and I kept paying attention to the elder. I connect with her, as well. I live with my grandpa for like ten years
in my house, so all that connections makes everything, like, “Okay, let’s so something
that we can show the people “to look out for the elders.” My idea was to create this pulley system to
where they can move each one of the hands, so a group of hands, so it’s more collaborative,
it’s more like connecting– Exactly. The family, connecting the elders with your
dad or your mom just looking at you or just playing with you in each one of them. And also the fact that you make them come
alive. We have this idea there’s two components to
a puppet, there’s a puppeteer and the puppet. The puppet does not come to life unless the
puppeteer plays a role into it, so it was part of creating that connection. In general, the idea of the whole show, the
whole concept, one is to create that interactive approach in bringing them to life, and second,
it’s to keep the conversation going. Conceptually, it’s like, instead of looking
at them, you have to look up them. ‘Cause that was the purpose of making them
eight feet tall. So you literally are looking up to them. I start to study what kind of population is
around this center. Most likely it’s Haitian people, Latin American,
they speak different languages, so one of my ideas is to reach more to those communities. I translated to Spanish, English, and Creole,
so that’s why we have the texts on those three languages. But I think the text and the simplicity of
the graphics, and the simplicity of the walls at the eye level also makes you look up and
pay more attention, and just wonder. I mean, it’s also the softness of the fabric,
that tenderness of something that we all have a relationship to. We all are covered with fabric, so that was
also important. I think a work of art needs to be open-ended. Not everyone comes in knowing precisely the
concept of the work and understanding there’s a narrative behind it, when they’re done being
a pretty picture. All these ideas should spike your curiosity.

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