For a biology of images
Clara Carvajal develops in her projects an artistic dialogue with different forms of language and social communication processes and explores cultural narratives in what she calls For a Biology of Images; the use of the same image in different material supports (drawing, photography, wood carvings, prints), unlike the cinema that uses different images in the same support.
Amazonomachy (2018) deals with the epic of women in mythological narratives and their modern reinterpretation, using photography, drawings, woodblock prints, and video.
Gods of the Frontier (2019) explores the aspirational image of the Lebanese using photographic archives of portraits of ordinary people immersed in the period between independence and civil war.
Deceive (2020) uses wooden boxes open on three sides that show on their faces images representing cultural concepts, which have a function equivalent to that of a prosthesis that fills gaps in social interaction.
The Displaced Hive (2021-22) is a large format altarpiece with aspirational narratives; the human accumulation climbing the summit of Everest (in the famous 2020 picture); space rocket tourism; migrants in the process of seeking protection. All beings in search of a destiny, escaping from their usual original space.