The reflection on identity plays a pivotal role on Susy Gomez's artistic career. Her work evolves from the willingness
to explore the crossroads between art and spirituality, between social action and identity. Her artwork reflects on
the positioning of the contemporary subject in the world that surrounds him. It transforms and transmutes images from
the real world or their representation in the media thus conveying the fragmented and uninterrupted flow of existence.

To exhale, although this verb has many connotations, it is commonly associated to dying, to the last breath, the moment
of surrender when the soul leaves the body. It also conveys the idea of life, of exhaling as part of the act of
breathing. We tend to establish a parallelism between soul and spirit because when we exhale, when we breathe, we
are alive. By analogy something that stops being, exists no longer, comes to an end, disintegrates: like exhaling
time, when the temporal existence comes to an end. Also living, exhaling as part of the act of breathing.

Breathing, understood as an invisible force, immaterial and weightless, responsible of life and death. It evokes a
place where to empty oneself through the act of breathing, the possibility of expression in freedom. It also suggests
the wind blowing, the air flowing. It brings to mind the act of exhaling, to expel the good or bad smell from within. As
man's act of supreme freedom, of somebody in complete control of his actions.

This exhibition is a turning point in Susy Gómez's exhibition career. In the past she conceived the installation as a
device to organize space rather than as an independent art form. However, in this occasion the sculptures she exhibits
function as installations in their own right. It is a way of staging worlds that interrelate with each other. Susy Gómez
uses the title of the show as a reference: breathing oneself in, a kind of conceptual device, with special emphasis on
the exhalation. The titles of the pieces in the exhibition, rather than acting as parallel discourses, function as a potential dialogue.

Thus Susy Gómez has developed a mechanism to update the usual protocols around a series of related works. The pieces
in the exhibition act as devices waiting to be activated by the viewer. Once ridden of the purpose for which they were
originally designed, they set in motion a new performatic attitude. The titles aid us in this journey from the exhibition
space to the space of everyday life: they require a more spiritual attitude on behalf of the viewer, they point to an actual
emptying oneself of all beliefs, to the dematerialization of one's ego, of one's personal history. They entice us to assume
responsibility for our own thoughts, feelings and actions and invite us to come out of our hiding place and become part of a
collective subject in order to experience art and life thus enacting a new interaction where the dichotomy with the other one
dissolves.

She uses architectonic elements and furniture found in detritus from demolished buildings of early Twentieth Century,beamed
ceilings, hydraulic floor tiles, and pieces of furniture that display household and industrial appliances that have been exposed
to temperatures above 4820 F , like the pieces of the kind of respiratory mechanism evoked by the title of the exhibition.

"We are used to paying too much attention to forms and disregarding the space between them. Our culture is designed to steal our attention. Here, space is part of a process of deconstruction and re-accommodation of the atemporal invoked by the body itself, by the internal and external spaces that transcend form.

"Normally our attention is drawn to the mental and the visual. Here I am interested in exploring attention (panoramic or focused)
and directing it to the body. It is not a question of learning how to breathe, but to cultivate attention, to integrate and somehow
master the vital need to reflect on the present moment, on destiny, on the meaning of life and identity from various perspectives.
Through this visual exploration of the act of breathing and decoding the subject's interaction with his surroundings I intend to
promote a greater awareness of the subject and the context he is immersed in. Art seen as the result of the process that stimulates our relationship with space and time and demands to be understood. From the mere accident of a gestural manipulation superposed to the spirituality of the social, of the relations and ties, time is resolved through its existence in the Other, elsewhere". S.G.

These works by Susy Gómez appeal to a reflection on our existence as whole human beings and our presence in this world. They stand as visual and material statements of an existence where spirituality has long been neglected. Here the political and social can be read as a series of questions on morality and more importantly they invite the beholder to become aware of the automatic divagations, turns of mind, false beliefs warning us about adopting one and only posture.