Displacement Weaves: On memory, matter, and the fragile structures that hold us

The sculptural works carry the argument. Support Systems suspends a modular metal frame with a web of plant rope cascading toward the floor in unresolved balance, setting industrial solidity against organic flexibility and letting the organic win. Body Not Included pushes into a darker register, a ceramic and fiber form like a broken chair held by a few coarse threads, a structure built to look stable while excluding the real bodies it claims to serve. Architecture of Interdependence answers with something closer to hope, an unstable sculpture with no clear center that stays standing only because its parts hold one another. Read together they treat fragility not as the thing that breaks but as the thing that survives through mutual care.

The remaining works turn toward place and time. Rootless Ground, Forgetting Flows hangs a clay-painted fabric showing Murcia as cracked, drought-stricken terrain in front of a jute rug where the Segura River and its ancient Arab irrigation channels are traced in white clay, a buried network that keeps flowing beneath a city that has forgotten it. The video works open the timeframe further. Scents Gone, Shadows Returned. The Last Harvest runs two screens against each other, one moving forward while the other rewinds, tracing the Murcian orchard toward a farewell of last harvest, last light, final scent. Time, Space and Mutable Identities, the earliest piece from 2019, blends bodies, cities, and spaces into shifting alternate realities where instability becomes a way of inhabiting the world rather than a flaw.

Luz Bañón is a visual artist, professor, and researcher based in Murcia, Spain, working at the intersection of the body, matter, and territory through ceramics, fiber, installation, and video. She is drawn to precarious structures of sustainability, to material memory, and to the invisible forms of support that operate without recognition. She lectures in the Faculty of Fine Arts at the University of Murcia, where she teaches sculpture, audiovisuals, and artistic animation, and her work has been shown across Europe and South America. Her current projects continue this exhibition's central tension, between the organic and the structural, the visible and the work of care, domestic life, and community that holds everything together while going unmeasured.