Vis.[un]necessary force_2

Sculptural objects

White PLA 3D prints Dimensions: variable

Vis.[un]necessary force_2 [YO Soy la Baliente] Vis.[un]necessary force_2 [El dinosaurio que no Nos deja Pasar] Vis.[un]necessary force_2 [yo pienso que voy a estar sola] Vis.[un]necessary force_2 [Rescatando a una familia Pobre] Vis.[un]necessary force_2 [Que se descuide] Vis.[un]necessary force_2 [Salbe a mi perrito con un trampolin] Vis.[un]necessary force_2 [Salve a mi mama y mate al dragon con un arco] Vis.[un]necessary force_2 [yo lo Mete con 2 lanzas Al Dragon] Vis.[un]necessary force_2 [Mate al dragon y me rescate a mi mismo]

Complements

White PLA 3D prints Dimensions: variable

Vis.[un]necessary force_2 [yo pienso que voy a estar sola] 2 Sculptural objects: Girl and four legged animal

Vis.[un]necessary force_2 [El dinosaurio que no Nos deja Pasar] 2 Sculptural objects: Girl and elephant

Vis.[un]necessary force_2 [Rescatando a una familia Pobre] 1 Sculptural object: House*

Vis.[un]necessary force_2 [Mate al dragon y me rescate a mi mismo] 2 Sculptural objects: Girls

Parallel Sculptural Objects White PLA 3D prints Dimensions: variable

Seven Coffins Helicopter 2 Individuals [killer and dead] Pickup truck

Prototype Sculptural Objects White PLA 3D prints Dimensions: variable

• Drawing by Jahir Ponce Sánchez

Courtesy of the artist

Made with the generous guide and support of Verónica Castillo Arnal With deep gratitude to Cordelia Rizo and Ana Paula Sánchez

Photo documentation Digital prints Dimensions: 21 cm x 21 cm

Photo documentation by Verónica Castillo Arnal

Courtesy of Verónica Castillo Arnal

The artwork explores the consequences of violence in everyday life, especially among children and family members of missing individuals. The project is based on working with infants who have been victims of extreme violence, through the mediation of art, technology, and the making of safe spaces/safe objects. Sánchez collaborated with psychologist Verónica Castillo Arnal, who worked with children diagnosed with traumatic stress disorder. The artist tried to integrate the art project with a therapeutic process as part of a formula for therapy through art. Working with Castillo Arnal, Sánchez transformed the drawings made by the children into 3D objects—sculptures.

In this work, Luz María Sánchez integrates numerous qualities characteristic of her art: critical analysis of processes of violence, participation, multimedia, social research and database creation, with a research-implementation of sociological, psychological and therapeutic perspectives. In this way, she created a work with a complex transdisciplinary profile. The project halted in 2017 after the earthquake that affected Mexico City destroyed the artist’s studio. On display is a recovery of the main elements of the project made solely for this exhibition.

“When violence grew so much in Ciudad Juárez that the municipality was classified as the most violent city in the world, both the impact on the population of boys and girls who had lost a loved one and the need to provide them with psychological care became evident. The art therapy workshop (…) was born as a research project a little over ten years ago [in 2010]. It was formally established as Crayon Art Therapy and Resilience in 2015, incorporating crayons as the primary tool. The workshop is based on the gestalt approach of Violet Oaklander and her students and the Trauma Informed Art Therapy model of Cathy Malchiodi. From these approaches, the objectives of this art therapy model are outlined for the design and implementation of activities that seek to reduce the impact of the loss, reduce the symptoms of post-traumatic stress disorder and help children discover their resilience. To achieve such objectives, art activities are sensory so that children reclaim their bodies, creative expression is used to express all their emotions, and creative resistance is used to express their opinions, claim their rights, and discover their resilience.”

Verónica Castillo Arnal*