Graciela finds the theatical in the ordinary, the death in the life, the history in the now. In her hands, a camera is "an instrument capable of disintigrating moral barriers, personal and social inhibitions, trusts and distrusts." A headdress of iguanas, a bull-headed bicycle, a skull mask at First Communion...Graciela conjures the dream-like from the day-to-day.
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