Artist Livia Marin‘s melts ceramic cups and kettles into puddles of porcelain. The cool thing is that the original printed design and details are retained.
My artistic practice has been characterized by large-scale installations and the appropriation of mass-produced and consumer objects. I employ techniques and strategies that are characteristic of Sculpture, Installation and Process Art. I employ everyday objects to enquire into the nature of how we relate to material objects in an era dominated by mass-production, standardization and global circulation. My work was initially informed by the immediate social and political context of Chile in the 1990s that amounted to a transition from a profoundly and overtly disciplinary political regime (under seventeen years of dictatorship) to one of an economic, though no less disciplinary, regime with a strongly developed neo-liberal agenda.
By appropriating mass-market objects I seek to offer through the work a reflection on how we particularize our relation to them. I reflect on how, in a secular and materialist society, identities are increasingly designated through the material tokens derived from consumerism. Central to the intervention deployed in my work is the trope of estrangement that works to reverse an excess of familiarity engendered in the life of the everyday and the dictates of the marketplace. The mode of address my work takes to the everyday is through the material objects which populate it and which I understand as embodied signifiers of the culture to which they belong. I see my work as involved in the kind of politics that are transacted in everyday life: buying and selling, keeping and discarding, using and storing, giving and receiving, etc.