Those unconnected, abstract forms were captured on paper, and in the process I was portraying them. Later, I made several copies on a photocopier, replicating it inaccurately over and over again. Was he aware that this would put the original in crisis, perhaps losing the here and now? Reproducing the initial model over and over again.

From this process arose the reflection on the influence of technical reproduction in art and the concepts of unique and unrepeatable. Has art lost its ability to generate in the viewer an unrepeatable contemplative experience? Is the unique concept somewhat obsolete due to the advancement of technology?

In this case, the photocopies have the desire to capture something as unique and singular as the tear, and that, despite being a reproduction, continues to emanate authenticity and an aura of its own. It is the experience of the unrepeatable.

The essay “The Work of Art in the Age of Mechanical Reproduction” (Walter Benjamin, 1935) is marked, in a significant way, by this concept: The loss of the aura in the contemporary work of art. And we understand the ‘aura’ as that experience of distance, albeit brief, that becomes visible in the mysterious totality of objects.