For the creation of ORIGánika, Juliana Reyes and Paloma Hurtado considered talking about “origin” as a concept and as bodily matter. The questions may seem commonplace: Where do we come from and where are we going? What differentiates us from other living beings, if we all seem to come from the same place? What is that cycle of life that begins and ends? Does it really end? Does our matter always return to the source from which it came? Is matter created and destroyed or only transformed?


A few days before beginning the creation process, Juliana's mother died and the questions about life and death took on a more raw and direct tone, which transformed the rhetoric of these questions into a tangible personal experience.


From there, they decided to include Paloma's mother in the creation, as her fundamental partner in the scene, to explore in that mother and daughter relationship: origin, ancestry, life and its cycles, and of course death. as part of it, ultimate goal or new rebirth.

"the origin, the ancestry, life and its cycles"



Their bodies are exposed, from their rawest naturalness. Paloma is a dancer, her mother is not. Paloma is young, her mother is not. Paloma knows the scene, her mother there is a foreigner. Paloma cares for her and guides her through the process, as her mother did with her throughout her life. And it is in that encounter, vital, emotional, natural and tremendously organic, where ORIGánika finds the way to talk about life and death as part of the natural cycle of existence.