Ya los brazos le crecían  2021
Steel cattle grate, studio light, laurus nobilis leaves, pan flutes, repurposed fan motors, fog machine, mylar, zippers, wood, fabric, steel and hardware.
Dimensions variable   Ya los brazos le crecían is a performance with objects that follows the structure of a play. It is part of ongoing research that examines myths from Ovid’s Metamorphoses, in which nymphs transform into objects and in order to escape sexual assault.    My performance proposes a feminist and posthumanist reading of these myths through a dramaturgy that decenters human perspective on the stage, focusing instead on scenography and props. The scenes themselves refer to the transformed nymphs, invoking their presence in their non-human form.    The only human agents are moving professionals who periodically carry out scene changes. Experts in the change of objects and their care, they practice the feminist principle of caring and maintenance of enviroments.   This play uses slowness and the rejection of specific points of view to cancel the primacy of the anthropocentric perspective, creating instead a kind of surface that humans and elements of non-human scenery can inhabit together.1 - 1Vujanovic, A. (2018). Landscape dramaturgy: Space after perspective. En (ed.) I. M. Fiksdal Thinking Alongside, (pp.159-170) Oslo: The Oslo National Academy of the Arts.     Emmanuela Soria Ruiz (b.1992, Granada, Spain) is an interdisciplinary artist and educator living and working in Philadelphia (Lenni-Lenape occupied land) where she continues to try. Her work has been exhibited at multiple venues in New York, Los Angeles, Philadelphia, Berlin, Marrakech and Granada, with forthcoming shows in Portland and Hamburg.