Through the use of Michel Foucalt’s ideas of “bio-power” and Achille Mbembe’s theories on “necro-politics”, David Correa’s practice draws parallels between Latin immigrant labor in the United States and Mbembe’s liminal “death worlds,” which act as unique social spheres existing between life and death. In doing so, he deconstructs the instrumentalization of the laborer and the Latin child’s infatuation with adornment, consumer culture, and the celebrity. This deconstruction is done through questioning the way the second generation Latin immigrant in Miami attempts to escape labor and approach what Mbembe refers to as “subjectivity” or “personhood” by mimicking the facets and symbols of wealth displayed by modern celebrities while remaining instrumentalized in the cyclicality of labor or the “state of injury”.
In taking inspiration from vehicle modification culture and Cuban utilitarianism, Correa creates performances which bastardize principles from these movements to transform tools of labor as well as labor itself into ceremonial artifacts and rituals. Similar to fake chains and the soiled white garment, the now repurposed leaf blower revs and burns gas and calls to be witnessed by those outside of the necro-political structure and the “death world”.