In this day and age, Rebeca attempts to create a collection of non-phallic ceramic dildos. During the Inquisition, Josefa finds a dildo that is used in their forbidden love relationship with Maria. Although in different timelines, the paths of Rebeca and Josefa end up crossing each other.
Dildotectonics, a direct reference to Paul B. Preciado’s Countersexual Manifesto (2000), is a video essay that investigates practices of pleasure through non-normative and non-cis objects – ceramic dildos that go beyond phallic shapes and play creatively and playfully with shape, texture, colour and purpose. The dissolution of the phallic symbolism associated with pleasure is to be understood as a form of queer agency, moreover so that the documentation of the creative process is juxtaposed with the story of Josefa and Maria, two recolhidas (secular recluses) whose love and pursuit of pleasure go beyond the constraints of gender or faith. (Emilian Lungu)
Tomás Paula Marques (she/they) is a visual artist from Porto, Portugal. Having completed a master’s degree in Filmmaking at Elías Querejeta Zine Eskola (San Sebastián), she previously did a postgraduate degree in Sociology at ISCTE (Lisbon), and was originally trained in Directing and Cinematography at ESTC (Lisbon). She directed the films In Case of Fire (2019), Blindman’s Buff (2021), When We Dead Awaken (2022) and Dildotectonics (2023). She often collaborates with other visual artists, and has also worked as a cinematographer, editor and script supervisor. The characters in her films tend to face difficulties when questioning or breaking expectations of gender and sexuality.