Relevant bibliographies by topics / Leonard Cohen

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Leonard Cohen'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Leonard Cohen"

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Rosemann, Philipp W. "Leonard Cohen, Philosopher." Maynooth Philosophical Papers 9 (2018): 1–20. http://dx.doi.org/10.5840/mpp20181091.

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Kroll-Zeldin, Oren. "Experience Leonard Cohen." American Jewish History 106, no. 2 (April 2022): 223–25. http://dx.doi.org/10.1353/ajh.2022.0029.

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Hanberry, Gerard. "Listening to Leonard Cohen." Books Ireland, no. 234 (2000): 286. http://dx.doi.org/10.2307/20632167.

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Bougnoux, Daniel. "Leonard Cohen, scène zen." Médium 23, no. 2 (2010): 63. http://dx.doi.org/10.3917/mediu.023.0063.

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Guillén González, Zuleyma, and Pompeyo Pérez Díaz. "Iconografía, poética y música. Un análisis iconográfico de los videoclips de Leonard Cohen realizados por directoras." Cuadernos de investigación musical, no. 15 (May 11, 2022): 58–72. http://dx.doi.org/10.18239/invesmusic.2022.15.07.

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El presente trabajo se centra en el estudio de los elementos iconográficos que aparecen en los cuatro videoclips de canciones de Leonard Cohen realizados por directoras: Dance Me To The End of Love (1984) y First We Take Manhattan (1988), de Dominique Issermann; In My Secret Life (2001), de Floria Sigismondi; y Because Of (2004), de Lorca Cohen. Lo cierto es que, aunque no abundan los estudios sobre los pocos videoclips oficiales editados durante la carrera de Leonard Cohen, nos parece que se trata de un lenguaje audiovisual idóneo para la inclusión de componentes simbólicos recurrentes en su escritura. Además, el hecho de que estos fueran filmados por mujeres nos interesa, dado que las numerosas alusiones a la feminidad en los textos del autor. Videoclips de canciones de Leonard Cohen realizados por directoras: Dance Me To The End of Love (1984) y First We Take Manhattan (1988), de Dominique Issermann; In My Secret Life (2001), de Floria Sigismondi; y Because Of (2004), de Lorca Cohen. Lo cierto es que, aunque no abundan los estudios sobre los pocos videoclips oficiales editados durante la carrera de Leonard Cohen, nos parece que se trata de un lenguaje audiovisual idóneo para la inclusión de componentes simbólicos recurrentes en su escritura. Además, el hecho de que estos fueran filmados por mujeres nos interesa, dado que las numerosas alusiones a la feminidad en los textos del autor.
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Malnati, Gaia. "The Demons of Leonard Cohen." English Studies 102, no. 6 (June 21, 2021): 878–80. http://dx.doi.org/10.1080/0013838x.2021.1930339.

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Torres Ribelles, Francisco Javier. "Poems by Leonard Cohen (1934-)." Revista Alicantina de Estudios Ingleses, no. 17 (2004): 335–39. http://dx.doi.org/10.14198/raei.2004.17.20.

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Meier, Albert. "LEONARD COHEN: LIVE IN LONDON." Kieler Beiträge zur Filmmusikforschung 5, no. 4 (July 27, 2023): 613–17. http://dx.doi.org/10.59056/kbzf.2011.5.p613-617.

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Mus, Francis. "Les langues de Leonard Cohen1." TTR 26, no. 1 (June 22, 2016): 103–22. http://dx.doi.org/10.7202/1036951ar.

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La question sera d’abord abordée à partir d’une analyse de la place du français dans la première période de l’oeuvre littéraire de Leonard Cohen (1950-1967). Elle s’appuiera sur l’analyse d’une nouvelle inédite (sans titre) qui sera comparée au roman Beautiful Losers (1966). Au-delà de la place occupée par Cohen dans une discussion sur le bilinguisme canadien, la confrontation de plusieurs systèmes linguistiques montrera ensuite le caractère factice de ces systèmes et la recherche subséquente d’un mode de communication alternatif et plus authentique. En plus d’une analyse discursive, l’article vise un but historiographique dans la mesure où les liens de Cohen avec les milieux francophones des années 1960 seront explicités grâce à la découverte de matériaux inédits.
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Pleshoyano, Alexandra. "La poésie lyrique de Leonard Cohen." Thème 18, no. 2 (January 11, 2012): 163–86. http://dx.doi.org/10.7202/1007485ar.

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Leonard Cohen suscite un engouement international non seulement pour sa musique, mais aussi pour ses écrits où s’amalgament des fragments du judaïsme, des vestiges zen et certains éléments chrétiens qu’il hérite du Montréal catholique de son enfance. Dans un premier temps, l’auteure aborde le rôle joué par la poésie chez Cohen et comment l’écriture lui devient nécessaire. Ceci conduit, dans un deuxième temps, à la période où il prend ses distances avec le monde académique pour se diriger vers la musique populaire : Cohen passe ainsi de poète à pop star. Dans un troisième temps, l’auteure explique comment les symboles de la mystique juive ainsi que la méditation zen deviennent des moyens de survie pour lui. L’artiste prétend anéantir sa volonté pour laisser place à travers lui à une plus grande volonté. Par exemple la chanson-prière intitulée If It Be Your Will reflète notamment une expérience de kénose où Cohen cherche à devenir l’instrument de Dieu (G-d).
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Dissertations / Theses on the topic "Leonard Cohen"

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Johansson, Anna. "Conceptual Metaphors in Lyrics by Leonard Cohen." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-125400.

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The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.
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Barilli, Elena. "Analisis de la interpretacion de un discurso de Leonard Cohen." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/11364/.

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Koproski, Fernando de Paulo. "Flores das flores para Hitler : 13 poemas traduzidos de Leonard Cohen /." oai:ufpr.br:233648, 2007. http://200.17.209.5:8000/cgi-bin/gw_42_13/chameleon.42.13a?host=localhost%201111%20DEFAULT&sessionid=VTLS&function=CARDSCR&search=KEYWORD&pos=1&u1=12101&t1=233648.

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Orientador: Mauricio Mendonça Cardozo
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Letras e Artes, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 2007
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Balfour, Sappho M. "No fixed address, locating Leonard Cohen in Western religious/spiritual culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ34875.pdf.

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Pezzarello, Christopher Joseph. ""You have sweetened your word" : sincerity and prayer in Leonard Cohen's Book of Mercy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29507.pdf.

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Custeau, Philippe. "A Faint, Blue Idea of Order." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/443.

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Wells Oliver, a mathematician, and his partner Malin move to Kythera, a remote Greek island, from Canada and Sweden, their respective countries of origin. In doing so, they hope to transform their lives in a way that will allow them to focus on their budding love affair, but they are also running away from obligations and people they are trying to leave behind. On Kythera, they realize that even in the most distant locales, the past is never far below the surface.
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Lebold, Christophe. "Ecritures, masques et voix : pour une poétique des chansons de Leonard Cohen et Bob Dylan." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20084.

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La spécificité des plaisirs littéraires que proposent les chansons de Bob Dylan et de Leonard Cohen tient à la qualité poétique de leurs textes, mais aussi à la mise en voix de ces textes en performance, ainsi qu'à la théâtralité des jeux de masques qui sont au centre de deux œuvres largement auto-fictionnelles. Dès lors, à l'étude stylistique des paroles devra nécessairement s'ajouter une « poétique de la voix » et une analyse systématique des fonctionnements complexes des personae mises en place dans les chansons. L'approche textuelle étudie comment les deux auteurs repoussent les contraintes langagières imposées par la mise en musique jusqu'à mettre en place une écriture largement scriptible, tout en inventant des idiomes poétiques originaux à la croisée des traditions du blues, du psaume et du verbe visionnaire, prophétique et sapiential. Les voix sont abordées successivement comme des objets de plaisir, comme des instruments d'écriture rythmique avec lesquels les deux artistes remettent en jeu la partition du texte original, et finalement comme des signes complexes car Dylan et Cohen utilisent les traits saillants de leur timbre pour inscrire une vision du monde à la surface sonore des chansons. Enfin, autour des notions de persona, de posture/imposture et de doublure, l'étude des jeux de masques cherche comment les deux auteurs construisent et déconstruisent perpétuellement leur personnage publique dans une pratique du palimpseste identitaire qui débouche sur une forte ambiguïté tonale entre confession et mystification, lyrisme et ironie. Nous sommes ainsi amenés à une réévaluation de l'impact littéraire de l'objet chanson, laquelle ne peut être menée à bien sans garder à l'esprit le poids de la distinction savant/populaire et la problématique inévitable du statut culturel incertain de Dylan et de Cohen, respectivement passager clandestin et déserteur de la culture savante
This dissertation aims at assessing the specificity of the literary pleasures derived from the songs of Bob Dylan and Leonard Cohen. Their art can be defined as the locus of three overlapping writing activities : inherently poetical texts are performed and rhythmically re-written by the performer's voice, while the songs are used by both artists to « write themselves » through the creation of numerous and competing personae. Close reading of the lyrics must therefore be supplemented by a « poetics of the voice » and a detailed analysis of the theatrics of their games of masks. While the stylistic approach to the lyrics reveals a thrust towards writerly openness and blends oral traditions and high poetry into original poetic idioms, the aesthetic and semantic uses of the artists' voices are just as elaborate. Therefore, the voices will be approached, in turn, as objects of pleasure, as instruments of writing and as complex signs used for pathos and self-parody or to inscribe a world-view at the sonic surface of the songs. Drawing on highly conceptualised notions (persona, posture/imposture and doublure…), the study of the artists' various masks will isolate the mechanisms that allows them to perpetually construct and deconstruct their public image. These personal palimpsest of identities which constitutes the heart of their work fuel the songs' strong tonal ambiguity, merging confession and mystification, lyricism and irony. After thus establishing a specific poetics for the songwriters' work, we will be brought to re-assess the literary impact of popular songs. In the process, however, the cultural weight of the high/low distinction and the ambiguous cultural status of both artists will have to be kept in mind, Dylan and Cohen being — respectively — a stowaway in and a deserter of high culture
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Vesselova, Natalia. "“The Past is Perfect”: Leonard Cohen’s Philosophy of Time." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31065.

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ABSTRACT This dissertation, “The Past is Perfect”: Leonard Cohen’s Philosophy of Time, analyzes the concept of time and aspects of temporality in Leonard Cohen’s poetry and prose, both published and unpublished. Through imagination and memory, Cohen continuously explores his past as a man, a member of a family, and a representative of a culture. The complex interconnection of individual and collective pasts constitutes the core of Cohen’s philosophy informed by his Jewish heritage, while its artistic expression is indebted to the literary past. The poet/novelist/songwriter was famously designated as “the father of melancholy”; it is his focus on the past that makes his works appear pessimistic. Cohen pays less attention to the other two temporal aspects, present and future, which are seen in a generally negative light until his most recent publication. The study suggests that although Cohen’s attitude to the past has not changed radically from Let Us Compare Mythologies (1956) to Book of Longing (2006), his views have changed from bitterness prompted by time’s destructive force to acceptance of its work and the assertion of the power of poetry/art to withstand it; there is neither discontent with the present nor prediction of a catastrophic future. Time remains a metaphysical category and subject to mythologizing, temporal linearity often being disregarded. Although Cohen’s spiritual search has extended throughout his life, his essential outlook on time and the past is already expressed in the early books; his latest publications combine new pieces and selections from previous books of poetry and prose works, confirming the continuity of ideas and general consistency of his vision.
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Olofsson, Petter. "”Cohen, Coping och Kommentarsfälten” : – en receptionsstudie om hur religiös coping kan tänkas yttra sig i kommentarsfälten under Leonard Cohens musik på videoplattformen Youtube." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411579.

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The aim of this paper is to study how the researchers Kenneth I. Pargament, Harold G. Koenig and Lisa M Perez five RCOPE-strategies can be related to the comment fields of five music videos by the artist Leonard Cohen. The video material can be found on the social platform YouTube.      The comments were analyzed in relation to the five coping strategies and people's needs for holiness and religion in the late modern secular society.  The five coping strategies were: (1) Meaning, (2) Control, (3) Comfort/Spirituality, (4) Intimacy/Spirituality and (5) Life transformation.   The methodology of this inductive study was based on an intersection between a qualitative text analysis, and a more netnographically oriented style of observation.   The conclusion while analyzing the data in relation to RCOPE- strategies was that two of these five strategies were more clearly projected. These strategies were (3) Comfort /Spirituality and (4) Intimacy/Spirituality. This paper is moving in a relatively unexplored field of research and can be seen as a springboard for further research on the relationship between secularization, digital media, and human religious orientation in dealing with existential crises.     Keywords: Religious Coping Strategies, Leonard Cohen, Comfort Spirituality, Intimacy, Spirituality, Social Media, Youtube
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Hill, Colin 1970. "Leonard Cohen's lives in art : the story of the artist in his novels, poems, and songs." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26737.

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The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.
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Books on the topic "Leonard Cohen"

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Sheppard, David. Leonard Cohen. London: Unanimous, 2000.

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Tordjman, Gilles. Leonard Cohen. Bordeaux: Castor astral, 2006.

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David, Sheppard. Leonard Cohen. New York, NY: Thunder's Mouth Press, 2000.

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Leonard Cohen. Bordeaux: le Castor astral, 2006.

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Leonard Cohen: Everybody knows. London: Omnibus Press, 2014.

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1972-, Yasmine, ed. Leonard Cohen: Yesterday's tomorrow. Leuven: Van Halewyck, 2004.

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Leonard Cohen: A remarkable life. London: Omnibus Press, 2010.

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Cohen, Leonard. The lyrics of Leonard Cohen. London: Omnibus, 1998.

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Hutcheon, Linda. Leonard Cohen and his works. Toronto: ECW Press, 1994.

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Stéphane, Loisy, ed. Leonard Cohen: Le gagnant magnifique. Paris: Carpentier, 2012.

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Book chapters on the topic "Leonard Cohen"

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Rodenberg, Hans-Peter. "Cohen, Leonard." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8248-1.

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Rodenberg, Hans-Peter. "Cohen, Leonard: Das lyrische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8249-1.

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Hanstein, Bettina. "Cohen, Leonard: The Favorite Game." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5084-1.

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Spear, Jeffrey L. "The Fractured World of Leonard Cohen." In Ruins in the Literary and Cultural Imagination, 177–97. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26905-0_11.

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Wrobel, Ruthanne. "GUILTY PLEASURES: HEARING SUSANNA’S STORY INTONED BY LEONARD COHEN." In In the Arms of Biblical Women, edited by John T. Greene, Mishael M. Caspi, Zohar Hadromi-Allouche, Jay Harold Ellens, Alisa Meyuhas Ginio, Naomi Graetz, Ann Hege Grung, et al., 179–94. Piscataway, NJ, USA: Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463235611-009.

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Gawellek, Nelly, and Katharina Klapdor-Ben Salem. "»There is a crack in everything - that's how the light gets in« (Leonard Cohen)." In Systemkritik!, 173–76. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839466551-028.

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"Leonard Cohen." In Kanadische Gegenwartsliteratur, edited by Sebastian Domsch, 51–68. edition text + kritik im Richard Boorberg Verlag, 2020. http://dx.doi.org/10.5771/9783967074086-51.

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Pinder, Kait, and Joel Deshaye. "The Contemporary Leonard Cohen." In The Contemporary Leonard Cohen, 1–31. Wilfrid Laurier Press, 2023. http://dx.doi.org/10.51644/9781771125635-003.

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Betts, Gregory. "Is it Really Revolting?" In The Contemporary Leonard Cohen, 99–119. Wilfrid Laurier Press, 2023. http://dx.doi.org/10.51644/9781771125635-007.

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Lebold, Christophe. "“I’ve Seen the Future, Baby: It is Murder”." In The Contemporary Leonard Cohen, 211–33. Wilfrid Laurier Press, 2023. http://dx.doi.org/10.51644/9781771125635-012.

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Conference papers on the topic "Leonard Cohen"

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Nascimento, Suely. "A Casa de Marlene." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.g157.

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Este artigo apresenta a pesquisa “A Casa de Marlene”, que venho desenvolvendo no meu doutorado em Artes, Programa de Pós-Graduação em Artes, Instituto de Ciências da Arte, Universidade Federal do Pará, desde 2018. Uma extensão da pesquisa que produzi no mestrado em Artes, na mesma instituição de ensino superior, de 2016 a 2018. É uma poética construída a partir da memória familiar e afetiva, em que fotografia, vídeo, som, escrita, olfato, paladar, tato e sentimento se fundem — e integra a linha de pesquisa 1, da poética e dos processos de atuação nas artes, na linguagem artística das artes visuais. O objetivo geral é desenvolver um projeto poético e montagem de instalações com fotografia-vídeo-som-escrita, discos da casa da minha mãe. Bem como pensar-refletir sobre o meu próprio caminho e construir o memorial em que conto sobre o processo criativo da obra. Ao longo da minha carreira, como artista-pesquisadora, conversei com artistas como Claude Monet, Leonardo da Vinci e Hélio Oiticica; e com teóricos como Jean Lancri e Pedro Vasquez, na metodologia; Allan Sekula, em fotografia; Rosalind Krauss, na instalação; Renato Cohen, em performance; Philip Auslander, na documentação de performance; Sérgio Basbaum, na sinestesia; Allan Kaprow, na arte e na vida; Glória Ferreira e Cecília Cotrim, na escrita da artista; e Sonia Rangel, no processo criativo. Como metodologia pessoal, crio um jardim mesclado com as minhas memórias do jardim da casa onde morei, onde desenvolvo a instalação e o memorial. É neste lugar que experimento, leio, pesquiso, edito a fotografia-vídeo-som-escrita, reflito sobre a minha trajetória de vida e o que nela me toca, e escrevo os textos de pesquisa. Durante as aulas, nos estudos prático-reflexivos, fui construindo minha poética, experimentando instalações na própria sala de aula. Um deles, relacionado à cozinha da casa onde morava, experimentei dois assuntos, inclusive a experiência do café com colegas de classe. Cada camada da instalação é percebida no processo criativo da obra de arte. E, a partir do que percebo na minha poética, desenvolvo conversas com a História da Arte, e tenho concebido textos, que chamei de escritos do artista. Com as letras, palavras, frases e reflexões, escrevo o que pensei/penso sobre a geometria, as dimensões, o espaço, o quarto da casa e a partilha à volta de uma mesa de jantar. As camadas poéticas construídas no caminho criativo são inúmeras e, no fragmento da instalação, apresento vestígios que estão em mim, no jardim, no quarto, na cozinha e no quintal, onde vivi uma vida na casa da minha mãe.
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Nascimento, Suely. "La casa de Marlene." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.g156.

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Este artículo presenta la investigación “La casa de Marlene”, la cual que estoy desarrollando desde 2018 como parte de mi Doctorado en Artes del Programa de Posgrado en Artes del Instituto de Ciencias del Arte, Universidad Federal de Pará. El proyecto es una extensión de la investigación que realicé en mi Maestría en Artes, desarrollada en la misma institución de educación superior entre 2016 y 2018. Se trata de una poética construida desde la memoria familiar y afectiva, en la que se combinan fotografía, video, sonido, escritura, olfato, gusto, tacto y sentimiento. Además, el trabajo integra la línea de investigación original, sobre la poética y los procesos de actuación en las artes y en el lenguaje artístico del arte visual. El objetivo general es desarrollar un proyecto poético y un montaje de instalación que incluya fotografía-video-sonido-escritura acerca de los discos que encontré en la casa de mi madre. Además, el proyecto incluye pensamientos y reflexiones sobre mi propio camino y construir el memorial en el que cuento el proceso creativo de la obra. A lo largo de mi carrera como artista-investigador, he hablado con artistas como Claude Monet, Leonardo da Vinci y Hélio Oiticica, y con teóricos como Jean Lancri, Pedro Vasquez en cuanto a la metodología, Allan Sekula en fotografía, Rosalind Krauss en la instalación, Renato Cohen, en actuación, Philip Auslander, en documentación de rendimiento, Sérgio Basbaum, en sinestesia, Allan Kaprow, en arte y vida, Glória Ferreira y Cecília Cotrim, en la escritura del artista y Sonia Rangel en el proceso creativo. Como metodología personal, creo un jardín donde mezclo mis recuerdos del jardín de la casa donde viví, desarrollando allí la instalación y el memorial. Es en este lugar donde experimento, leo, investigo, edito fotografía-video-sonido-escrito, reflexiono sobre mi trayectoria vital y lo que me toca a lo largo de ella y escribo los textos de investigación. Durante las clases, en los estudios práctico-reflexivos he ido construyendo mi poética, experimentando con instalaciones en el propio aula. En uno de ellos, relacionado con la cocina de la casa donde vivía, experimenté con dos temas, entre ellos la experiencia del café con mis compañeros. Cada capa de la instalación se percibe en el proceso creativo de la obra de arte. Luego, a partir de lo que percibo en mi poética, desarrollo conversaciones acerca de la historia del arte. También he concebido textos, a los que llamé “los escritos del artista”. Con las letras, palabras, frases y reflexiones, escribo lo que pensé/pienso sobre la geometría, las dimensiones, el espacio, la habitación de la casa y el compartir alrededor de una mesa de comedor. Las capas poéticas construidas en el camino creativo son innumerables y, en el fragmento de la instalación, presento huellas que están en mí, en el jardín, en el dormitorio, en la cocina y en el patio trasero donde viví una vida en la casa de mi madre.
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