Donde come una, comen dos / Donde comen dos, comen cinco (Where there's enough for one, there's enough for two / Where there's enough for one, there's enough for five) are two mirrors intervened with nail polish that, together with a rug, form the work Softness Sanctuary. The pieces explore the possibilist idea of desire by tracing, in floor plan, the arrangement of furniture from imaginary homes for 2 or 5 friends. Nail polish appears for its ties to the rites of passage of femininity and the performativity of gender in the West. At the same time, the viewer finds themselves reflected in the mirror while, depending on the lighting, the reflections of the illustrated furniture are projected onto the surrounding space. The titles reference sayings common in Spanish-speaking countries about the collectivity of what one possesses: rooted in the language of food and sustenance, they suggest that what was meant for fewer can always be shared. Within the context of the project, these sayings are inscribed as a gesture belonging to care work and reproductive labor, especially in contexts of precarity.
The rug that accompanies the mirrors, made using a tufting technique, departs from a personal experience: as a child, I used to play with my friends by creating floor plans of sprawling houses using cutouts from architecture magazines, then walking through them with dolls and toy objects to simulate their inhabitability. The piece revisits that gesture — the abstract drafting of an architectural plan with a hand-woven chromatic mapping — evoking the children's play rugs printed with roads and places, designed to be interacted with through play.
Obra presentada en exposición colectiva La Traversée en la Yellow Cube Gallery x La Superette du Quotidien, en colaboración con R.A.R.O Barcelona. París, Francia. Junio 2024 
Claudia Uranga ©
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