The representation of Mexico as a visual poem by means of an immediate aesthetic approach seeks to evoke the essence of the country’s identity, without appearing blunt or simplistic. The artwork conjoins Mexico’s idiosyncrasies in a fresh manner: It plays with perspective and point-of-view, and uses the folkloric, autochthonous language of a colourful people. The piece Movimiento Nº17 (Movement no. 17) consists of three elements: 32 horizontal lines 31 horizontal transitions. The full text of the constitution of the United Mexican States of 1917 (in its current version), spread over 17 vertical columns. The colours for the 32 horizontal lines are taken from the seals of the respective states, which are organised in alphabetical order from top to bottom. Chosen at random, they create a clear and optically dynamic pattern; however, the original hue remains always the same. This is also true for the transitions. They are another colour taken from the seal of the next state to follow. The resulting optical dynamism is the eponymous movement and the central concept of the artwork. This visual phenomenon stems from a special printing technique which normally uses only one, precise numerical colour value. For the conception of this work, however, 32 independent values were used, which reflect the poverty index for each state. The visual oscillation, then, results from two factors: the social gaps between the Mexican states and the beholder’s movement through the room as she fixes her gaze on the artwork. Thus, were there no social inequality in Mexico, there would be no movement in Movimiento Nº17. “Those who have lost their identity are a numb people, on the verge of oblivion.”
Studies on Light Reflection
In this photographic series Mejía explores the behaviour of a single light source reflected on a see-through mirror. During different time exposures, analogue colour filters were implemented in order to generate the tinted nuances on the object’s reflection. During the developing process of the photo material the shades become very spalpable, a phenomenon that is still to perceive on the printings.