Christina Lopez is an artist whose practice interrogates—in its base form—power, and how its structure, relations, and reiterations can be circumvented through subverted translations in traditional image production, new media, and their present interthreads.
Most of her works gravitate within the Philippines and its multitude of positionalities—including her own—, the bulk of which are continuous and living attempts of presenting alternative re/configurations of sociality in the country.
Her recent works utilize paranoia as divination, where human anxieties navigate perpetually present obfuscation in new technologies, in its production and dissemination, antithetical to its nature. To present “anti-reason,” Lopez chooses digital-physical fusion—a testament, wherein her choice mediates what is chosen, against attempts of separating the virtual from its material realities.
Her latest solo exhibition “Pro Forma” encapsulates this growing tendency. The Markov chain as representative of stochastic models mutates and seeps into present binds and contradictions of historicization vis a vis futurity.
Through oracular visions, grasping at both seen and unseen—the erasure of gaps in flat diagrams, the negative space within melded steel bars, and so on— progress loses moralistic attributions, and is ultimately measured by its commitment to the insistence and existence of a particular future.
