In Sacrificio, La Señorita Blanco “caught” herself building a specific ritual for a group of five bodies (including her own). The artist composes the piece following the map of formal characteristics that define the ritual: specific mental state, formalism, traditionalism, immutability, rules, sacred symbolism and performativity.
Within the piece, the artist places the viewer as a casual observer of the activity carried out by the bodies, inserted into a device governed by its own logic. This logic arises from the conviction that what prevents the contemporary body from definitively succumbing to complete disconnection from the animal is ritual.
Sacrifice places the bodies on a timeline that always happens exactly, as well as on a spatial map, drawn from perfect lines, that governs the choreography of movement.
The artist's goal stems from the meaning of the etymological root of sacrifice: to make a space/object sacred. This dimension, apart from explicit elements, is generated through the very activation of the piece, its circular character (giving the impression that it could happen in a loop) and the sonority of the bodies.