Limbic Trilogy

The Limbic Trilogy brings together three live audiovisual performances — Limbic Love, Deseos Monstruosos, and Trash Food Porn — developed through collage, animation, sound, and performative image manipulation.

The trilogy explores how emotions, desire, intimacy, fantasy, and consumption are shaped through mediated images and collective imaginaries. Drawing on popular culture, internet aesthetics, advertising, romance, food imagery, and bodily projection, the works construct unstable affective landscapes where attraction and excess continuously overlap.

Across the performances, images are manipulated live in front of the audience through analog and digital animation techniques, transforming audiovisual composition into a performative and temporal act. Rather than presenting fixed narratives, the works unfold through fragmentation, repetition, accumulation, and emotional intensification.

The trilogy marks an important transition within the artist’s practice: the movement from fixed audiovisual and collage production towards live escenic forms in which image-making becomes embodied, relational, and exposed to real-time transformation.

Process

The trilogy was developed through experiments in live animation, collage, projection, and audiovisual improvisation.

Using found imagery, internet references, advertising aesthetics, archival fragments, and popular culture, the artist constructed performative systems in which images could be manipulated and recomposed live during the performances. Through layering, projection, rhythm, and sound, the works generate immersive affective environments structured around emotional projection and sensory overstimulation.

The live condition became central to the research process, introducing instability, immediacy, and performative risk into practices previously rooted in audiovisual editing and post-production.

Forms

Live audiovisual performances: real-time compositions combining animation, collage, projection, sound, and performative manipulation

Live animation systems: moving-image environments generated through improvisation, layering, and audiovisual montage

Ephemeral sculptures: small scale sculptures made of sugar, wheat dough and artifical flavourings

Sound compositions: immersive sonic structures accompanying and destabilising the visual narratives

Self-published comic book (limited edition): One Day at the Studio, a conversational narrative following three female artists during a coffee break as they exchange traumatic childhood memories. The publication extends the trilogy’s exploration of emotional projection, intimacy, and affective narration into an editorial form

Site-specific mural collage: Enlightning, a large-scale collage intervention developed for the exhibition I don’t believe in you but I believe in love, curated by Paola Marugan at Galería Fidel Balaguer. The work translated the trilogy’s visual language into architectural and spatial form

These forms operate together as performative and affective image environments in which animation, narration, collage, and emotional projection circulate across live, editorial, and spatial contexts.

Context

The trilogy forms part of an early phase in the artist’s practice investigating the intersection between collage, moving image, and live performance.

Developed before the artist’s later socially engaged and voice-based works, the trilogy establishes many of the concerns that continue throughout the practice: translation, projection, affective circulation, collective perception, and the construction of temporary shared situations.

The works circulated across self-organised cultural spaces, galleries, and performance contexts in Barcelona during the early 2010s, including presentations at Artkatraz — a large occupied building and independent cultural venue that hosted artistic and performative experimentation — as well as exhibitions and live events in gallery and festival contexts.

Credits

Concept and direction: Christina Schultz

Limbic Love