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Gazta-hezurra / El hueso del queso comprises a series of sculptural pieces associated with the mural text Lerro Gurutzatuak, a project I begun in 2014. Lerro Gurutzatuak gathers the results of my ongoing investigations into Basque myths, beliefs and customs. Incursions to places of interest motivated by ethnographic readings gradually led to the collection of stories and customs, chronicles of historical events and other narrations that cross-contaminate to produce different possible readings. Some of these contents would be, for instance, the custom of putting your head into a hole built for it, or repeatedly moving a heavy object from one place to another, or preserving bones like relics, the act of arbitrary blowing up rocks with dynamite, the belief that caves and other distant cavities are connected, etc.

The interest in these beliefs and customs come from their ability to symbolically domesticate and explain their environs. While they remain alive, these narratives and practices are constantly being adapted and updated in an intergenerational chain that unfolds with the passing of time. However, the changes in the productive model that took place in the twentieth century completely overturned more traditional ways of life and broke this chain. And it is from this breakage and the museimification of that world that the process of idealisation begins, and with it an essentialist vision of the alleged origins signs of identity of the Basque Country.

This romantic halo attracted and at the same time repelled me, and it was precisely this conflict that drove the process. The attraction led me to choose the contents, and the repulsion led me to explode them, looking for strategies that would produce an estrangement capable of affording a different vision.

During the investigation prior to the mural text Lerro Gurutzatuak, the images evoked by the texts and their relationships gave rise to the construction of objects, and it is these objects that comprise the exhibition Gazta-hezurra / El hueso del queso. On one hand, there is a series of pieces made from the form of the head or cranial vault, hung in an iconoclastic gesture. On the other, there are reliefs made from representations of constructions with vaults and arches, that can also speak to the inside caves. By presenting them together, a parallel might be established between both; between the inner space of a building or cave and the inner space of our body.