Andalucia
In a poetic and pictorial exercise, Estrada establishes connections between the names assigned in selenography and the colonial toponyms of the so-called New World - the Moon as a mirror of Earth and the imposition of European expansion on the territory now known as Latin America, through naming as a form of appropriation. In the Andalucia series, composed of a six charcoal drawings and metallic leaves on linen, the artist brings to light myths related to the founding of the city of Córdoba, Argentina, her hometown, through the depiction of craters named after sis astronomers from Al Andalus.
In this series, the charcoal observational drawings, developed through an investigation of disputed nomenclatures and the mapping of the lunar surface, are combined with frames made of gold and silver leaf. In these works two visual languages, patterns and symbols seem to coexist - at times merging or transitioning from one to the other, at others remaining static, juxtaposed on patterns of the Alhambra - on the other, the so-called guardas pampa (geometric motifs traditionally associated with indigenous cultures and later appropriated as identifying symbols within the Argentine national imaginary form a luminous border around the dense opacity of the charcoal.