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Pamela Arce, In us our dead, so no-one is left behind, 2020. Photo: Charlie Hillhouse.

Pamela Arce's work combines a diversity of media including ceramics, textiles and video to explore the concept of the territorios cuerpo-tierra, which bridges the divide between bodies and land in a political recuperation of the body as a territory. From this, Pamela seeks to rethink forms of power and relation that have led to a time of extreme grief for creatures and lands. In doing so, she draws from the Aymara understanding that it is not the future, but the past that lies ahead. Her works, known as fardos, covered in mouths and seeds, are spells of memory wrapped in stories and voices from 'the South'.

During her residency at Gasworks will conduct research for a project based on Jemmy Button, one of the three Fuegian children that were kidnapped in 1830 by the English Beagle Expedition to Tierra del Fuego (South America). She will study archival material of Jemmy’s one year stay in London, and conduct research into the University of Cambridge’s Darwin Correspondence Project. As part of the expeditions to Tierra del Fuego, Darwin’s correspondence contains records of those trips, as well as the failed enterprise of turning Jemmy into an ‘Englishman’ — the impossibility of which Darwin would later lament. 

Pamela Arce's residency is generously supported by ARTUS Peru.



Pamela Arce lives and works in Lima, Perú.

Recent solo exhibitions include: Semillera at Blindside, Melbourne (2021) and In our our dead, so no-one is left behind, at Outerspace, Brisbane (2020). Gallery Juan Pardo Heeren, Lima, 2019; Video Visions screenings as part of Melbourne’s Channels Festival at ACMI, 2017, Love Stories, Diaphane Photoaumnales Festival, Paris, 2016.