The common thread of my poetic explorations (both visual, textual and sonorous) is the feminine.

–understanding the feminine as an aspect that dwells in the psyche of all human beings–

The feminine is a terrible, monstrous, ferocious, erratic, restless, elusive, fugitive, mutable, disconcerting, and above all illegible force.

It expands like a disobedient rhizome. Its tentacles create imperceptible fissures through which the unspeakable infiltrates.

Its gestures are minimal, dense, intimate. Radically different from the enormous gestures of the heroic civilizing model.

–yet all it takes is a drop of night to open a threshold–

Thresholds are wounds of death in life, or wounds of life in death. The feminine is expressed in a dynamic continuity: life-death, interior-exterior, laughter-cry, pleasure-pain, expansion-contraction.

These circular expressions are uncomfortable, because they confront us with the infinite. And the infinite is profoundly uncomfortable.

Through these disruptive fissures, contents slip through that awaken other intelligences, other sensorialities, other vulnerabilities that allow us to re-cognize ourselves as a momentary multiplicity.

We are an intersection of synchronous exchanges, but we are also an expansive bifurcation. We are the crossroads where paths meet and diverge incessantly.

The custodians of these liminal spaces are female beings, monsters or goddesses, but always female.

In Greek mythology, for example, we have the Sphinxes (the best known is the one of Thebes), Charybdis and Scylla (with her six dogs around her waist), the Erinias (who tormented Orestes), Eschida (mother of famous monsters), the Gorgons, the Harpies, the Moiras, the Sirens, the Python, the Chimera, the Lamia….

And in Hebrew mythology we have the wonderful Lilith. She is presented to us as the image of a fatal woman stereotype, an artifice created to represent the dark feminine in an absolutely plain way.

We have goddesses like the great Kali who fertilizes the earth with the blood of her victims, the mother Kali who devours everything to transform it into life. Inanna the queen of heaven and her counterpart Ereshkigal queen of the Underworld. And we also have the witch Hecate, goddess of crossroads and roads.

These goddesses and monsters are represented as hybrid beings, beautiful women with snake tails, lion paws, bird wings, eagle talons, iridescent scales and multiple fierce limbs. They are linked to another order, an analogical order, they are the custodians of other wisdoms, other systems of thought, they live in the Kairos, in the symbolic realm, from where myths and poetic language spring.

But these feminine beings are uncomfortable not only visually, but also produce disturbing, not to say dangerous, sounds.

In the different mythologies there are many stories where the female voice is a threatening element for the rational order of the civilized world.

The babbling of Cassandra, the insults of the Harpies, the song of the Sirens, the shriek of Medusa, the litany of the nymph Echo, the piercing scandal of Artemis, the smooth voice of Aphrodite, the voluptuous whisper of the river maidens, the sobbing of Clytemnestra, the sinuous murmur of Lilith, the howls of the Bacchantes, the laughter of Baubo… Among others.

The Greeks thought that feminine sounds arose from madness and generated madness. Therefore, to succumb to feminine sounds was against the ideal of self-control. They had laws specifically to regulate female oral disorder. Thus protecting the civic space from bad sounds. Women’s festivities and rites could only be celebrated outside the polis.

And they also have a term to classify it: the ololyga. This word means nothing more than its own sound. A sound that represents a cry of intense pleasure or intense pain, emitted only by women.

A woman has two mouths. Both mouths provide access to a hollow cavity guarded by lips that are best kept closed. When either of these mouths does not remain sealed it can open and let out the unspeakable.

Woman is a creature that puts the inside on the outside. Through leaks of all kinds-somatic, vocal, emotional, sexual-women express or release what should be guarded. All their gestures expose their intimacy.

–a drop at night is enough–

The masculine, on the other hand, breaks the link between the inner and the outer by interposing the logos, whose most important censor is the rational articulation of sound.

From then until today, the dominant culture has decided to divide living beings into two large groups: those who can self-censor and those who cannot.

We who cannot, are a fugitive mass composed of femininities, neuro divergences, disabilities, sexualities, sensitivities, sensorialities, subjectivities, as well as animals, plants, fungi, bacteria, minerals, material or immaterial entities, and everything else that contaminates the sterilized space of the polis.

Blake called it the realm of literalism. Dogmatic and infertile territory, where it is forbidden to create, it is only allowed to insatiably reproduce a docile state of well-being.

But for the Pythagoreans the logos is not the verb, which later becomes the word. For the Pythagoreans logos is a principle of relationality, it is a question of relationship between two elements.

So we could say that logos is a binding principle. We could also say that it is a manifestation of Eros… and there everything changes.

In Hindu mythology they say that the goddess Gayatri created herself out of primordial chaos. Gayatri is the consort of the god of creation Brahma, but the source of Brahma’s power is Gayatri herself.

The ancient trackers tell that first there was sound. The universe was born from a needle-sharp hum ( hum! ). And from that primordial hum sprouted the first word.

– Gayatri, Brahma –

Furthermore, the Pythagoreans tell us that between a point A and a point B there is a segment that is made up of infinite points. The Pythagoreans also speak of the misnamed irrational numbers, which are actually the incommensurable numbers because they have infinite decimals. And let’s not even talk about the number phi: a fractal that opens and closes, from and to infinity, infinitely.

The absolute and the particular coincide in a secret, preverbal, incommensurable language. There is a hidden unity in multiplicity.

This relational mystery is the illegible content that distills the feminine. And only from the feminine in us can we remember how to access its dimensions.

In the words of Clarice Lispector: “How can I know what I don’t even know? Just like that, as if I remembered. With an effort of “memory”, as if I had never been born. I was never born, I never lived; but I remember, and the memory is in the living flesh.”