In Ostentation the body wants to beco­me an ima­ge, whi­le at the same time brea­king this iden­ti­fi­ca­ti­on. By researching the dif­fe­rent lay­ers of the mea­ning that fema­le bodies gene­ra­te in soci­al and phy­si­cal capi­ta­list-orien­ted spa­ces, Ostentation works through the ima­ges pro­jec­ted upon us, as well as the ones we cre­a­te our­sel­ves. These two direc­ti­ons of pro­jec­ti­on are some­ti­mes in con­sen­sus, some­ti­mes in con­flict and most­ly some­whe­re in bet­ween. The per­for­man­ce spa­ce folds and unfolds, gene­ra­ting mea­ning only to absorb it again, dig­ging for dee­per lay­ers and may­be stac­king them for hig­her truths. The audien­ce beco­mes part of a play­ful game that dis­sol­ves the boun­da­ries bet­ween being and (re)presenting.

In 2019, Sophia Rodriguez made this impres­si­ve solo about the lay­ers of mea­ning gene­ra­ted by (fema­le) bodies in our capi­ta­list soci­e­ty and in November 2024, she plays Ostentation no less than 7x in Brussels.