Text by José Luis Giner Borrull “Memory Passages”
In the tradition of the original peoples from the Andes-Amazon regions, ayahuasca is the way to reconnect with yourself and get in touch with our world and the cosmic serpent, mother and guardian of this plant and all the secrets that nature possesses. The figure of the snake has been traditionally associated with knowledge, that is, the upper world or spirit; as well as sexuality and fertility. According to the American writer Joseph Campbell, there are many creator gods represented in the form of the cosmic serpent ranging not only from the Amazon, Mexico or Australia, but also to Egypt, the Pacific or the area of India. However, there are a few breakpoints in the worship of the serpent as a creator, namely the classical and Judeo- Christian culture, in which it acquired a derogatory meaning.
In the work of Myriam Moreno the snake becomes a leitmotif of her speech as a positive representation and as a universal symbol of creation and creative-sexual energy, thus rediscovering the ancient cultures. Retrieves the echoes of the past, both prehistoric and pre- Columbian, linking them in turn with Eastern cultures. Moreno wants to establish a dialogue between the past and present from different events ranging from performance and installations, sculpture, video, painting, collage and jewelry in order to retrain their meanings. Although her work is away from other artists with similar interests, they resume representations or ways of the past. Moreno rather reflects on the semantic value of the materials or forms to articulate their parts and make reference to their experiences.
Unlike previous work in which the artist addresses more abstract concepts relating to the serpent, in these works that we now speak of, mainly explores the representation of its skin. One reason is painted in the series Other skins (2014) that creates circular shapes reminding mandalas, as presented in Tantric Buddhism; but also, as argued by Carl Jung, an element widely used universally in other cultural areas. These geometric forms, together with wavy lines crossing the canvas from side to side, are also introduced in her other series entitled Light ripples (2014). The collages suggest landscapes or fields, raising questions about fertility and the earth; and that again associates the figure of the snake. An animal to be always in contact with the ground is considered belonging to its order. Furthermore, in the pieces “The apprehended” (2014) or the “Lived drawers” (2014) Snake skin is represented as small objects from very simple shapes but not without an ontological complexity connecting with all matters relating to the mother Nature, the creation and transmission of knowledge. They are made with stockings, organic shapes not without its connotations linked to the woman, which function can be considered as a second skin, claiming a transformation or changes required as a gateway to the world and understanding garment. Stockings are filled with rice, materials which in turn refers to birth and creation; and shown stitched with red thread. Perhaps it’s the veins snake by flowing blood, but these red lines refer, according to Eastern tradition, to the union of beings and life experiences. In short, the skin would be what is lived, what is apprehended and assimilated to build the future. The snake shed speaks to us of strength and transformation. In this way the artist explains: “Like snakes, women shed from skin and with that double skin it is what we live and learn. With those experiences we build the future, draw a red line that ties them all and unites us with us and with whom we have been accompanied, cutting the thread when necessary. All this makes new realities, builds beauty, life forms.