During the process of configuration of the work, you very rarely think of the smell, even less if you don’t not accept the importance that this concept can have in the artistic discourse.

But this does not mean that it doesn’t have a direct relationship with the piece constructed. Rather than direct, in this case, we might call it omniscient.

In reviewing our work symbolically, we can find ‘the trail of the scent’. I think of this almost like a fingerprint. Like a substance that distinguishes objects, our art objects.

Perhaps, to clarify this concept, it would be necessary to fill pages and pages, trying to lead the spectator along that subtle path that we understand in such a special way. In any case, whether or not we manage to bring them closer to what we think of as ‘smell’ in our work, ‘the aroma of the invisible’ would immediately disappear. In other words, all of that peripheral part of the concept ‘smell’ in which the essence not only of the piece but of those who constructed it would be imprinted.

…Everything is more complicated than ‘smell’, and this piece is too. Despite the fact that in it, things happen quite naturally.
Its essence is as simple and as complex as the act of sending love letters to a loved one far away.
The papers presented are the contents of a real correspondence. The drawings they contain are the intimate imaginary heart of the far-away person.
This correspondence can be regarded as the continuation in time and space of remembered conversations and experiences… sometimes by the fortuitous asphalt of a smell.

‘[…] Only one page, and I want to read for longer… I need to read your things for longer. I remember the smell of your house, which is also the smell of your clothes. The other day I was walking down a street, well really it’s hardly a street because one side is the edge of the beach, when suddenly that smell came to me: linseed oil, that cologne of yours of pepper and old paper. I’m not telling you how many times I thought of Choto… ‘

The origin of the project Ciber-tartao d’amor.

‘[…] I’ve decided to manipulate your letters, as we talked about. I’m thinking of combining my drawings with yours, intervening on the back of each silhouette.
My drawings will appear as concentric circles.
I’m thinking about that crazy idea of “only one”.
I’m going to play with the symmetries, you know there are two images, but compositionally we will only speak of one, the symmetrical will only be One.’

Cyber that we are, we constructed this piece by also uniting in the idea of ‘only one’ those chemical emotions we perceive through the nose.

Marisa Mancilla – Chico López