Liliana Sánchez looks at history as a sort of paradox chain, observing at passages that have the potential to reveal the flaws between individuals and their environment. Some of the traced stories include the sick body of the melancholic and its solitary habits, the shipwreck of a collector's appetite, oysters-rock’s animistic debate in XVIII century or the austerity of the banquet. Around this timelines Sanchez roots in experience chains of objects, texts and images to portrait in a non-literal way some of this events as existential occurrences in our time.
Sánchez hyper-real vocabulary indicates how reality is constantly pushed beyond the installed taxonomic boundaries and definitions, uncovering the unfamiliar of everything and the threshold between life and the constant enactment of it. Sanchez sees the object as an “edible entity”, a parallelism that reconnects the world with the organs of taste. To palate, smell and to feel with the stomach are sensorial moments that have influence her way of making, where she invest on textures, colors and shapes to impregnate with vividness the sometimes unseen world around us.
These digestive journeys present the configuration of uneasy subjectivities that are constantly at the verge of drifting in our time.