Fata Morgana — Sara Jimenez

"Fata Morgana (2)," 2016, Digital C-Print, metal paint, patina, rust, 16 x 16.25” Unique edition 1/5

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"Fata Morgana (1)," 2016, Digital C-print, metal paint, patina, rust, 20.75 x 15.75” Unique edition 1/5

"Fata Morgana (16)," 2017, Digital C-Print, metal paint, patina, rust, 20 x 31.5” Unique edition 1/5

"Fata Morgana (3)", 2016, Digital C-print, metal paint, patina, rust, 14.75 x 14.25” Unique edition 1/5

"Fata Morgana (15)", 2016, Digital C-print, metal paint, patina, rust, 6 x 4.5” Unique edition 1/5

"Residual Fugue (1)," 2015, Paper, metal paint, patina, rust, 19.5 x 20”

"Residual Fugue (6)," 2016, Enamel, metal paint, patina, crackle, on sculpted and cut inkjet print of American colonial photo of the Philippines, 34 x 39 x 4”

"Residual Fugue (6)," 2016, Enamel, metal paint, patina, crackle, on sculpted and cut inkjet print of American colonial photo of the Philippines, 34 x 39 x 2”

"Residual Fugue (2)," 2015, Enamel, soil, metal paint and patina on sculpted and cut colonial inkjet print, 30 x 32 x 4”

"Subtle faults (2)," 2016, Digital C-Print collage, 25 x 18.875”

"Subtle faults (1)," 2016, Digital C-Print collage, 25 x 18.875 inches

These series of works on paper are made out of images that have been scanned and printed from an American Colonial text book called “Our Islands, Their People” (1899). This book was written after the US bought the Philippines from Spain as a colony. It “documents” the islands through a colonial lens. Each of these pieces transforms the original images in different ways. For example, in the “Fata Morgana” works the figures are covered with rust, a reference to monuments, and disguising the figures from the gaze. The “Residual Fugue” series are totally transformed. For these, I imagined burying the colonial documents and having the earth transform them into new, unknowable beings that became porous, terrestrial, and patterned.