Three Days Before was a solo show I made at Buenos Aires Museum of Modern Art in 1999. For the occasion, I played with the idea of applying a literary technique, the Chinese boxes or mise-en-abyme structure, to the story that had come out of Plan of Invasion to Holland .
Three Days Before works as a narrative inside a narrative, like a dream in a dream, from the point of view of a fictional character –Self Portrait– that relates to a space or scenery –The Embassy-, and to an event –About Sinking-, presented yet again as an epilogue, this time completing a full circle that spirals back to the ancestor story, Plan of Invasion to Holland.
The Chinese-box device appears at different levels in the three pieces, for instance in the Chinese shadows that the figure of Self Portrait is making, and which reproduces its own silhouette into the big circle of light projected by the torch. The same torch is used to light up the rooms of The Embassy, and to guide us towards its only inhabitant, the dog who happened to be the model for the decoy in Plan of Invasion to Holland.
I found that using this technique I could open up my imagination and create new fictional layers upon such a complex creative process as my collaboration with Lotty had been, which I had found very rich, but that limited me to reacting to the story as it developed, rather than allowing me to play freely with the images emerging from it.
Text from catalogue: Cuando huye el día by Christian Ferrer (in Spanish)