In these works, the purest feeling of love and affection can morph into the sharpest and most painful. Certainties of love are turned on their heads and become a fear of loss, a fear that those same certainties might disappear. These are the affects, links, knots and bonds with which Victoria crafts, her starting point being her family, her immediate environment. An olive fermenter from the family business is repurposed as a swimming pool in which to submerge her whole family, from her closest relatives to second and third lines of ascendants and descendents. From this results a collection of suggestive images, which communicate a lot about what Victoria -out of water- could intuit about each of them. Some of its most recent extensions are the recent immersions of her mother, her aunts and of she herself. These immersions open to a much more personal reading, centred on the mother-daughter relationship.
