The identity indicates a person. It is the possibility of recognizing the unique characteristics and finding a place, an own definition based on the traces of the past, memory, experiences or knowledge.

The narrative interpretive work of memory, converted into spaces of identity to be revealed and understood in the context of past and present experiences. Murillo maintains that memory is a story from the past that can also function as a compass in the present.

The installation presents 200 glass postcards (made with silkscreen prints of old postcard images) that connect with the shadows that they cast, producing a clear metaphor of the inaccessible memory quality. The text on these postcards reveals subtle glimpses of their senders and recipients; from their personal lives, are experienced in artifacts from memory and personal history. Beyond biographical content postcards, they are also a record of trips and stories of experiences. The postcards are registered in metaphorical keys of the memory maps of the place and of the identity.

Crossings emphasized interrelationships between the installations of two American artists of different generations and with different concerns. However, the works they did during their residency with us, express some common ground where the dimensions of time, space, knowledge and geographical movements are implicit.

Suzan Shutan claims that being 5 foot tall and possibly having a Napoleon complex, it is not easy for her to create such large works. The artist comes from the field of sculpture and is passionate about creating spaces (often deceiving the eye) and inmersive site-specific installations.  It always starts with materials found in “the corner store”, in this case straws, wool, light wood sticks or packages of metallic and opaque colored paper. Her leafy imagination awakens our senses while she describes with humor and self-criticism her ignorance of an Argentina that was imagined, before residence, in her home in Connecticut. Thus, she represents the Iguazú Falls only with a wavy line that reflects multiple colors on the wall, whose movement and sounds are similar to water, or the Boca and River soccer clubs with hexagons of wooden sticks that resemble soccer balls. Her sculptural works are understood at the same time as drawing, since it is the line that creates the volume.

On the other hand, Michelle Murillo is an artist who comes from printmaking but who constantly seeks to expand the vocabulary of print and the multiple in an interdisciplinary context. Her work can be broadly understood as a practice of archiving: the lost, found, re-membered and collected. Her installation is exquisite and elegant. The transparency of the glass with opaque silkscreen prints on top and its reflections on the space is poetic and at the same time ungraspable, like the memories it evokes.