OFRENDA

GUAYAQUIL 2017

Ofrenda was born from a graphic pre-Columbian research that attempts to resignify messages enclosed in archeological vestiges from Ecuador’s Costal region. The author seeks within his individual identity. While fusing that specific content with elements from other worldwide civilizations, it generates the identity of an imaginary space.

The project suggests the creation of such pieces that could give a temporality meaning to a civilization, -to extend, immortalize, perpetuate, endure-. Throughout a system of signs and symbols it accounts for the referential bounds of a given civilization, that of identity.


 

Ofrenda is the given name of a fictitious civilization, whose history levitates in a space caught in between a fantastic world and reality. Chak is born from the need to talk about the perpetuation of civilization through their vestiges, their footprints, and their material input.

Ofrendas’s history and origin refers to the imaginary of a lost continent. As a way of recreating their historical guidelines, this research intensifies within the realms of disciplines such as anthropology and archeology. Nevertheless it also undertakes a contemporary locus stating clear references of pastiche and the relevance of material culture for the construction of identities, as a sub textual critic towards western civilization and its ongoing dependency to all that is digital and ephemeral.

Ofrenda questions the consensus around identity, western paradigms, and civilization as such from a museographical, archeological and historical lenses. By doing so it constitutes an imaginary universe with the archetypical evidences of a lost civilization. It does so through the creation of fiction; hitherto taking from real elements belonging to a pre diluvian mythology. For thatreason it takes references from the lost continent of Mu (humanity’s crib) and locates the proposal as if it were a detachment from this prima mythology, whose evidence, even if it is not certain, is described by various authors who withstand a theory of its existence.

This project has several converging points with GEN, another creation of Irving Ramó. As a part of its outcome is the development of the creation of a writing system based on made-up signs along with an aesthetical proposal that finds its core in graphic design, in order to settle within oil paint techniques in the realm of plastic arts.