The performance series A Day in the Life is based on the intrinsic need to build shelters, an impulse that extends from childhood games (hiding under the table) to complex contemporary protection strategies in the face of an overwhelming and overwhelming environment.

The centrepiece of this operation is the handmade costumes. These function as mobile shelters, camouflage devices that act in a political duality: they allow one to disappear from direct visibility and, simultaneously, reappear in another way, transforming identity and perception. The artist uses camouflage not as total concealment, but as a practice of critical resistance.

The landscape is radically redefined; it ceases to be a passive and contemplative backdrop and becomes an active field of friction. In this territory, the body and the territory become confused and merge. This bodily mimicry is a subversive act designed to deactivate the hegemonic gaze, which appropriates, aestheticises and neutralises nature, ignoring the complex power dynamics that permeate the environment.

Camouflaged bodies do not seek annulment, but rather a transformation of perception. By blending in with their surroundings, they expose layers of meaning that power deliberately attempts to erase. The action is a gesture of care that redefines the boundaries between the natural and the cultural, presence and invisibility. The work reveals that resistance can be articulated from visual marginality, using the humility of camouflage to challenge the monumentality of power. It is a poetics of evasion that reveals truths by renouncing frontality, turning tactical disappearance into a powerful form of political affirmation of the subaltern.

Victor Lopez Zumelzu