This series contains many key concepts woven through Lombardia’s practice, such as documentation, dissemination, and contemporary visual culture, that appear repeatedly in her work. In each of the fifteen photographs that comprise this series, two visual elements are at play: a pile of overlapping black-and-white images and a pair of disembodied, outstretched arms striving to touch the images. The series is divided into five themes — Gravity, Rituals, Nature, Cosmology, and Anatomy — that reveal unexpected connections between our contemporary world and art history and theory. Each work contains three images piled on top of each other. The bottom-most images — archival photos of historical sculptures, from prehistoric monuments to ancient Greek statues of Egyptian deities — provide the works’ context. The middle images are more cryptic, with large sections “canceled” or rendered not visible by the other images, and function more as a vague frame. These images are photographic documents of performances from the 1960s and 70s in which the body becomes the art object. The top images are the only part of the pile that is fully visible. These images are small, low-resolution pictures of memes in which people perform some action that resonates with the content of the other layers. Based on Aby Warburg’s methodology of organizing art history thematically rather than chronologically, Lombardía’s artworks are like puzzles, allowing visitors to create linkages, constructions, and iconographic analogies between the images. As the artist elucidates, “postmodernism and digital visual culture are two antagonistic spheres. There is a gap between them. After broadening my research and studying ancient cultures, I realized how rituals and myths are still so alive in our society. Finding associations and differences between images became something of an obsession for me (and endless amounts of work). At some point, after working with more than 20,000 images and trying to formalize an artwork, I realized there was nothing to be told further than the process itself. This research is broad and the possibilities uncountable. Jet Lag is an attempt to touch something that’s not tactile anymore." DJ Hellerman Curator, SCAD Musuem of Art