The pieces that make up this series underline the secret and the lie from a trio of material operations.

Utopia 1 presents the naked typeface of a mechanical typewriter attached through tensioned cables to two sets of papers whose surfaces have been subjected by the artist to the physical abuse-sanding and erasing characteristic, but amplified, of secret operations. Damage to the paper has been meticulously preserved by encapsulating each sheet in rice paper. Although the letters of these documents have been erased, once again the artist insists on the materiality of erasure as an unequivocal witness to violence.

In Utopia 2, an old typewriter stands on a pile of books painfully pressed between bolted bolts. From its disarticulated roller emerge several meters of paper full of erasures and illegible information. This piece alludes to the efficiency of the bureaucrat at the service of repression, the one who digests knowledge and, with each stroke of the keys, manages to distort it to the point of turning it into a ruinous and archaic volume, like the very appearance of the piece.

Finally, Utopia 3 juxtaposes excerpts from George Orwell’s 1984 to the keys of a typewriter, those that, through a human act, activate the control of memory and with it, its dystopian toxicity: “He who controls the past”, dictated the party’s slogan, “controls the future: he who controls the present, controls the past… All it takes is a series of victories over your own memory”.