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Patricia Villalobos Echeverría

Parasite (40°27’25”N 80°00’48”W)

This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.

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Parasite (40°27’25”N 80°00’48”W) is a site-specific installation that alludes to contaminants and occupied territories. The architectural site becomes a “host” to elements that protrude from the walls as a metaphor for symbiotic and parasitic relationships. The work references camouflage, intrusion, and disease, where both the host and its appendage transform into a new hybrid site/being.

When

2009

About The Artist

Patricia Villalobos Echeverría has a hybrid practice of prints, photos, installations, and participatory projects that pivot around issues of migration, navigation, displacement, and transformation. She was born in Memphis, Tennessee to Salvadoran parents and grew up in Managua, Nicaragua. She received her MFA from West Virginia University and her BFA from Louisiana State University.

Her projects have been exhibited in North, Central, and South America, the Caribbean, Europe and Asia. She is the recipient of the National Association of Latino Arts and Cultures Artist Grant, the Oregon Arts Council Fellowship, PA Council for the Arts Fellowship, Creative Heights Residency Fellowship from the Heinz Endowment, and has been an artist in residence at Ox-Bow, Artist Image Resource, The Studio for Creative Inquiry and Carnegie Mellon University and the MacDowell Arts Colony.

Parasite (40°27’25”N 80°00’48”W) is a site-specific installation that alludes to contaminants and occupied territories. The architectural site becomes a “host” to elements that protrude from the walls as a metaphor for symbiotic and parasitic relationships. The work references camouflage, intrusion, and disease, where both the host and its appendage transform into a new hybrid site/being.

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