Espigueo


Clay pot, series of monotype prints of money bills around the world.
Crumbling up the series of monotype prints and putting them inside the clay pot.

Espigueo, Lost in Translation was an opportunity for Graquandra to rewrite epistemic colonisation, a deflection from reclaiming ancestral knowledge, through a circular method of artistic creation through her positioning. Ecological and social commons are about giving back to the natural descent of given extraction, although the privatisation of the commons has silenced such reality.  By finding ways to rewrite history through public interventions and poetry, Graquandra exposes the harsh hypocricies of international monetary symbols and the exploitative nature of the rubber industry, and industry for that matter.

Transporting the clay pot, with monotype prints to the World Trade Center, Beurs. 
From the primary stages of Graquandra’s life, she lived in colonised capital cities of Latin American countries. Given lands carry history, abundance of nature and biodiversity interupted by dense metropolitan, mono-cultured urban terrain. Due to imperialised capitalist governments the current zeitgeist causes a deflection for biodiversity and existence of (non)human life. Meanwhile the preservation of indigenous and wild-life is a cause of immediate concern, not only for Latin America but the planet as a whole.



In the clay pot, inspired by the one her grandmother uses, she sat infront of the world trade center and burned the monotype print bills.





The ashes from the intervention were later turned into a pigment. Through the letter pressing technique, Graquandra printed her poem on Casa Arana, a slave plantation in the Colombian Amazon where foreign industry exploited indigenous peoples through monoculture caucho (rubber) plantations.

                                   


She also used it to make the cover her an anthology of poems written throughout the elaboration of the Espigueo project. You can download the anthology here, it is in Spanish.