Eva Pedroza
Eva Pedroza
Eva Pedroza

Birdmen, 2016, video installation. HD, 1 min loop. Exhibition view. Berlin Friedrichstraße Station



In Birdmen, 2016 the focus lies on the infinite possibility of transformation and reinvention. Through the use of morphing techniques and malleable materials such as clay and wax, as well as looping videos played forwards and backwards, past, present, and future dissolve into the possibility of a timeless transformation.

Worlds of the World, 2017, video installation, HD, 6:30 / 2:10 min loop. Text: Fanny Sorgo. Voices: Philipp Fröhlich and Katharina Eckerfeld

 

Worlds of the World, 2017 explores the disruptive potential inherent in the paradoxical coexistence of beauty within ugliness and ugliness within beauty.

... It is too exhausting to turn away from corpses, from the corpse one carries from birth. Yet there is relief in looking into dead eyes, for life itself carries death within it. We, the living, are all already dead — and if so, then what? Without reconciliation, the self is torn apart. It is as simple as this: notice the beauty in the ugliest incident, the ugliness in the most beautiful event, and say hello.

Excerpt from a text by Fanny Sorgo.

 

Birdmen, 2016. Exhibition view, Transmediale Vorspiel 2022

Eva Pedroza

Vögelmenschen, 2016, 3 channel video installation. HD, 1 min loop
Installation view. Berlin Friedrichstraße Station

In Birdmen, 2016 the focus lies on the infinite possibility of transformation and reinvention. Through the use of morphing techniques and malleable materials such as clay and wax, as well as looping videos played forwards and backwards, past, present, and future dissolve into the possibility of a timeless transformation.

Worlds of the world, 2017, 2 channel video installation. HD, 6:30 / 2:10 min loop
Text: Fany Sorgo. Voices: Philipp Fröhlich and Katharina Eckerfeld

Worlds of the World, 2017 explores the disruptive potential inherent in the paradoxical coexistence of beauty within ugliness and ugliness within beauty.

... It is too exhausting to turn away from corpses, from the corpse one carries from birth. Yet there is relief in looking into dead eyes, for life itself carries death within it. We, the living, are all already dead — and if so, then what? Without reconciliation, the self is torn apart. It is as simple as this: notice the beauty in the ugliest incident, the ugliness in the most beautiful event, and say hello.

Excerpt from a text by Fanny Sorgo.

Birdmen, 2016. Exhibition view, Transmediale Vorspiel 2022

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