I - T - Z - E- L
[Gesture / Performance]
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[Invisible Labor] ↔ [Colonial Infrastructure]
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I Haven´t Swept the Floor (2024)
I Haven’t Swept the Floor is a spoken poem reflecting on my experience migrating to London, the quiet yet persistent anxiety of safety as a woman, and the unnoticed traces my body leaves behind—like the strands of hair I lose each day. The video follows a hotel cleaning cart, a symbol of invisible labor often assigned to women and migrants. Through words and motion, the piece explores the intersections of gender, migration, and the overlooked gestures of daily survival..
I-T-Z-E-L
Single-channel video with audio | Duration: 1:20 min
Invisible Structures (2023)
A performance centered on Xochimilco rowers and their embodied experience. This project emphasizes ethical collaboration with territorial actors, ensuring fair distribution of benefits and co-authorship through legal agreements. We signed a legal contract outlining the percentage of profits they are entitled to from the performance piece.
I-T-Z-E-L, Santiago Josefa, Braulio Flores, Fernando Acevedo.
t.ly/wgsRS
[Performance].
Video installation (12”).
1 Video canal + 2 Audios.
Variable dimension.
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Camara: Mario Morales.
Edition: Mario Morales, I-T-Z-E-L.
Thanks to: IESRQ and Jesús Rubio for allowing access to the location.
Xochimilco, Mexico City .
Cleaning the House on a Full Moon (2022)
In this piece, I explored the act of cleaning as both a physical and spiritual practice. During a full moon, I cleansed my house to free myself from past relationships. Every stroke of the broom or rag became a ritual of emotional release and renewal. This piece is part of a personal collection in Belgium.
Limited edition.
[Cotton cloth and household dust, used in cleaning ritual].
15” x 23”
Mexico City.
[Wall Text]
Variable dimension.
Mexico City
Entanglement (Sculpture) (2022)
A ritual-based piece that explores personal transformation. It reflects on my relationship with my mother. In this ritual, I asked her to cut my hair, and symbolically freeing me from her expectations. These personal rituals, which I see as having therapeutic potential, blur the lines between the everyday and the imagined, becoming acts of resistance against societal structures.
[Hair form the artist on PET food tray and PVC film].
18” x 14” x 2.16”.
Entanglement (Video) (2022)
[Performance].
Video (15”).
1 Video canal + 1 Audio.
Variable dimension.
Video Still 1/2.
t.ly/4ETiy
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Participants:
María Luisa Hernández Arellano. Mexico City
Acts of Matter (2022)
Exploring the Agency and Interplay of Matter through a Cleansing Rituals in the sea. Where my father and I transformed into something more than humans. Separating our social identity and the encompassing nature reminds us of our shared responsibility. In a bottle of cider, we contained all our acts of dominion. We accepted what was, what is, and yearned for what will be.[Wood with cow hair and glass bottle with sea water, used in cleansing ritual].
27” x 16”.
Veracruz, Mexico.
Sanchez’s work is grounded in both field research and embodied practice. She engages directly with places of manual labor, treating them as archives of social and ecological tension. Through digital documentation, she produces fragmented visual traces that raise questions about power, memory, and the ethics of visibility.
Influenced by the writings of Françoise Vergès, Karen Barad, and Gloria Anzaldúa, Sanchez frames cleaning as a material and symbolic act that carries colonial histories while also pointing toward forms of repair and resistance. Her work draws from feminist, decolonial, and ecological thought to challenge extractive narratives and open space for alternative imaginaries. One that responds to both social injustice and ecological urgency.
Claudia’s practice moves between Mexico and the UK, shaped by the tensions and overlaps of both contexts.