[revisiting Woolf's Room of one's own]
Statesofmind (2012) es un proyecto cuyo punto de partida deviene la lectura interpretativa de la obra de Virgina Woolf A room of one's own (1929). Éste, recurre a la técnica mixta acuarela-collage para ilustrar los estados de pensamiento en los que se encuentra la innombrada figura narradora en el transcurso de un viaje literario en el que se entremezclan intermitentemete realidad y ficción. Existe, en la totalidad de las piezas que componen esta serie, la voluntad de recuperar la libertad con la que la protagonista de la obra trata la veracidad de los hechos, dejando entrever la inexistencia de una verdad universal, en favor de una más relativa y subjetiva.
N.1 [...] How insignificant this thought of mine looked; the sort of fish that a good fisher-man puts back into the water [...] but however small it was, put back into the mind it became at once very exciting and important.
N.2 Instinct rather than reason came to my help [...] they had sent away my little fish to hiding.
N.3 ‘I’ is only a convenient term for somebody who has no real being.
N.4 [...] thought had let its line down into the stream.
N.5 My heart had leapt. My cheeks had burnt. I had flushed with anger.
N.6 [...] the body seemed contained in a miraculous glass cabinet through which no sound could penetrate, and the mind freed from any contact with facts.
N.7 [...]it is for you to seek out this truth and to decide whether any part of it is worth keeping.
N.8 [...]kindly gentleman, who regretted in a low voie as he weaved me back, that ladies are only admitted to the library if accompanied by a fellow of the collageor furnished with a letter of introduction.
N.9 [...]so imperceptibly, I found myself adopting a new attitue towards the other half of the human race. it was absurd to blame any class or any sex, as a whole.
N.10 But what was anger doing there? Interest, confusion, amusement, boredom- all these emotions I could trace and name as they succeeded each other throughout the morning.
N.7 [...]Whatever may be their use in civilised societies, mirrors are essential to all violent and heroic action. That is why Napoleon and Mussolini both insist so emphatically upon the inferiority of women, for if they were not inferior, they would cease to enlarge. That serves to explain in part the necessity that women so often are to men. And it serves to explain how restless they are under her criticism; how impossible it is for her to say to them this book is bad, this picture is feeble, or whatever it may be, without giving far more pain and rousing far more anger than a man would do who gave the same criticism. For if she begins to tell the truth, the figure in the looking-glass shrinks; his fitness for life is diminished.
N.12 [...] women and clergymen and gardeners live longer than other people.
N.13 A woman must have money and a room of one's own if she is to write fition.
N.14 She made up a small parcel of her belongings, let herself down by a rope one summer’s night and took the road to London.