Like a recitation, an almost tangible evocation that never quite materializes—a memory that disperses and recomposes itself—Mery Godigna Collet's TRAMAS proposes an exercise in radical synthesis: distilling the tangle of voices, times, and spaces until they are reduced to their essence. In a present dominated by the ever-changing speed of technology, the artist summons a space that exists in-between, asking herself—and us—where humanity is headed.
In her installation at the Mexic-Arte Museum, Godigna Collet presents a video installation where undulating lines unfold, accompanied by an ambient sound that envelops the room. In the middle of the gallery, a white pedestal holds her text "TRAMAS," inviting visitors to pause and read. The exhibition also brings together three paintings—"This, That, Captive Memory"—and three found objects, shaping her study of the coexistence between human beings and our environment, tracing social and political issues that reveal the fragility of the balances we sustain.
The exploration of diverse materials—pigments, fibers, recycled objects, organic elements—allows her to construct pieces that intertwine between installation, painting, sculpture, and video. Technology has redefined our perception of time and space; it expands and unravels the fabric of human experience. In this context, Mery's work becomes resistance: a fabric that contracts and expands, proposing to linger on the minimal, to return to matter, to the trace, to that which escapes immediacy.
In TRAMAS, each element functions as an omen: a flight from language to vision and back again, a reality of its own that points to—and acts upon—the rupture between technology and words. The artist works with the idea of expansion and unraveling as a metaphor for this constant tension between presence and absence, between the physical and the virtual. Her pieces invite us to reconsider materiality in times where the digital realm is taking over.
Mery Godigna Collet understands art as a space for encounter and resistance against the homogenization of discourses. Her works don't offer closed answers; rather, they open like cracks through which questions seep. In the face of the urgency of the click, she proposes the slowness of gesture, memory. In times of fragmented memories and narratives shaped by algorithms, TRAMAS emerges as a space to pause and feel.
Like a spell that dissolves as soon as it's cast, Mery's work insists on reminding us that we are still here, in transit, holding between threads and pigments the question of what we are and what we are becoming. In her exhibition at the Museo Mexic-Arte, TRAMAS invites us to reimagine matter, time, and memory as a field of possibilities for reconnecting with humanity.
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