Claudia Sánchez works across performance, short film, and 3D scanning. Her practice explores the tension between action and trace, presence and absence, memory and documentation. Through performances, non-linear moving-image works, and acts of spatial recording, she investigates how bodies, gestures, and sites of memory persist through their residues. Rather than treating documentation as evidence, she approaches it as a space of transformation where events continue to unfold beyond their original moment.


Her work situates itself among Mexico, the United States, and the United Kingdom, articulating a transnational practice.

Performance for 2 people (2025)

Performance and documentation: 3D print in CJP Plaster Powder
Performance 15 mins
Documentation 16 x 13 x 8 cm


A series of three performances carried out in laundromats across London. The actions were intentionally undocumented through conventional means. Instead, the only trace left behind was a 3D scan of the space, captured after each performance.

The project reflects on how certain bodies and labors remain unseen, and how documentation itself becomes a performative process—shaped as much by what is missing as by what is preserved.

 

No Need to Hurry (2025)

2-hour performance.

 Performed at The Hangar Space. Royal College of Art. I created a dress based on a traditional indigenous pattern. This dress was worn during my IVF process, serving as a symbolic garment for the journey of freezing embryos. 

I Haven´t Swept the Floor (2024)

Single-channel video with audio | Duration: 1:20 min.

Through words and motion, the piece explores the intersections of gender, migration, and the overlooked gestures of daily survival..

Invisible Structures (2023)

A performance centered on Xochimilco rowers and their embodied experience. This project emphasizes ethical collaboration with territorial actors, ensuring fair distribution of benefits and co-authorship through legal agreements. We signed a legal contract outlining the percentage of profits they are entitled to from the performance piece.

I-T-Z-E-L, Santiago Josefa, Braulio Flores, Fernando Acevedo.
t.ly/wgsRS

[Performance].
Video installation (12”).
1 Video canal + 2 Audios.
Variable dimension.
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Camara: Mario Morales.
Edition: Mario Morales, I-T-Z-E-L.
Thanks to: IESRQ and Jesús Rubio for allowing access to the location.
Xochimilco, Mexico City .

Cleaning the House on a Full Moon (2022)

In this piece, I explored the act of cleaning as both a physical and spiritual practice. During a full moon, I cleansed my house to free myself from past relationships. Every stroke of the broom or rag became a ritual of emotional release and renewal. This piece is part of a personal collection in Belgium.

Limited edition.
[Cotton cloth and household dust, used in cleaning ritual].
15” x 23”
Mexico City.

[Wall Text]
Variable dimension.
Mexico City

Entanglement (Sculpture) (2022)

A ritual-based piece that explores personal transformation. It reflects on my relationship with my mother. In this ritual, I asked her to cut my hair, and symbolically freeing me from her expectations. These personal rituals, which I see as having therapeutic potential, blur the lines between the everyday and the imagined, becoming acts of resistance against societal structures.


[Hair form the artist on PET food tray and PVC film].
18” x 14” x 2.16”.

Entanglement (Video) (2022)

[Performance].
Video (15”).
1 Video canal + 1 Audio.
Variable dimension.
Video Still 1/2.
t.ly/4ETiy

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Participants:
María Luisa Hernández Arellano. Mexico City

Acts of Matter (2022)

Exploring the Agency and Interplay of Matter through Cleansing Rituals in the sea. Where my father and I became more than human. Separating our social identity and the encompassing nature reminds us of our shared responsibility. In a bottle of cider, we contained all our acts of dominion. We accepted what was, what is, and yearned for what will be.

[Wood with cow hair and glass bottle with sea water, used in cleansing ritual]. 
27” x 16”. 
Veracruz, México.