Inspired by my younger self blog #2
Get Out of Me
What does it mean to “Get Out of Me”?
Is it a call to reveal one’s true self, or a force desperate to break free? This question lies at the heart of a performance I created during my final year at university, a project that challenged me to explore movement, energy, and connection in ways I had never imagined.
This story revisits a performance I created during my final year at university. It was my project for the subject Drawing Motion, taught by the artist and professor Eduardo Bonati at the Facultad de Bellas Artes in Madrid in 1999.
In my fifth and final year pursuing a Fine Art degree, I encountered Drawing Motion, a subject that initially puzzled me but soon became inspirational. The Madrid Faculty of Art is renowned for its classical drawing approach, emphasizing strong technical skills. Throughout the degree, I immersed myself in techniques such as chiaroscuro, life drawing, and anatomy, which came naturally to me and earned me top marks with honours.
Drawing Motion challenged me to capture not just static poses but the fluidity of movement. At first, translating motion into quick sketches felt awkward, but with practice, I developed a keen eye and achieved impressive results. Professor Bonati’s open-minded and experimental teaching style encouraged me to push boundaries and present something truly unique for my final project, with the potential reward of the highest class mark.
A Journey to Edinburgh and the Birth of Powder
In June 1995, I traveled to the UK for the first time, spending the summer in Edinburgh before returning to Madrid to continue my studies. This trip marked a turning point, a leap into the unknown that sparked a profound transformation in my creative vision.
During that summer, the idea I call Powder began to take shape. I realized there is a powerful relationship between creator, artwork, and viewer, a dynamic flow of energy and attraction binding us all. This insight became central to my work in the years that followed.
In my fourth year, the Faculty offered a student Erasmus exchange programme within Europe. Edinburgh College of Art participated, and I dreamed of spending the academic year there. To apply, I submitted an artistic dossier featuring Powder as a metaphor for creative energy. This included artworks inspired by Edinburgh’s architecture, particularly Calton Hill, an enigmatic site rich in neoclassical monuments and panoramic views which I chose as a symbolic canvas for the Powder concept, along with a set design for a performance titled The Dance of the Ideas.
The Dance of the Ideas imagined a descent into darkness-crossing the boundary of consciousness through sleep, where ideas, invisible in waking life, appear as fluorescent red balls floating in limitless black space.
I was thrilled when I was awarded a place at Edinburgh College of Art.
Bringing the Performance to Life
Back in my final year, energized and confident, I decided to adapt this concept for my Drawing Motion final project. What better way to explore motion than through a live performance in time and space?
The production was simple yet effective: a black backdrop; dozens of fluorescent red balls, about the size of ping-pong balls, suspended and illuminated by ultraviolet light; and a performer dressed in a black catsuit and hood, dotted with fluorescent red paint.
Throughout the course, I built a rapport with the life drawing models, who were enthusiastic and supportive. They agreed to participate in the performance, which I promoted across the Faculty with flyers and posters under the title:
Get Out of Me
Friday, 12 March 1999,
1:15 PM and 8:00 PM, Motion Drawing Room, Ground Floor.
On the day, an air of mystery filled the room. Professor Bonati and fellow students gathered as I, with the help of my friends Susana and the models Yolanda, Tony, and Paco, prepared the space. The performance began with the classroom plunged into darkness, lit only by ultraviolet lights. Susana played a Himalayan singing bowl while I manipulated the strings holding the glowing balls behind the backdrop. Tony entered, hooded and clad in the fluorescent spotted catsuit.
The Essence of “Get Out of Me”
Is “Get Out of Me” the essence of the self, or the call of a force longing to break free?
The performance’s darkness, combined with the glowing red dots, created an immersive atmosphere that held the audience’s attention firmly on the scene.
The red dots initially appeared strong and purposeful, chasing a target they sought to merge with. Their pursuit stirred fear and curiosity in a cluster of smaller, timid dots. These smaller dots hesitated, retreated, and occasionally defended themselves, until they grew bold enough to engage. A struggle ensued a tug of war between the two groups accompanied by jingling sounds that created a hallucinatory, almost tangible atmosphere.
The piece captivated viewers, refusing to let them look away, even as it whispered, “Get Out of Me”.
(Text by Diana Nuñez)
Recognition and Reflection
This project earned me the highest mark in Drawing Motion that year, a recognition that still fills me with pride. More than that, it marked a turning point in my artistic journey, a moment when movement, light, and energy came together to tell a story beyond words.
I am truly grateful for the support and motivation offered by Professor Bonati. Thank you.
With the help of friends Susana and life drawing models Yolanda, Tony, and Paco, the performance unfolded in a darkened room. The only sounds were the resonant tones of a Himalayan singing bowl and the subtle jingling of the floating balls. Tony emerged, hooded and mysterious, his red dots pulsating like living sparks.
The red dots seemed alive, chasing and merging, provoking fear and curiosity among smaller, timid dots. A silent struggle played out-a tug-of-war of light and shadow, strength and vulnerability. The atmosphere was hypnotic, drawing the audience into a world where ideas took shape and demanded to be seen. Even as the performance whispered, “Come out of me,” it held viewers captive in its glowing embrace.
