"Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place." —  Susan Sontag*

In her work Invisible, Janneth Gil explores what it means to be of the kingdom of the sick, "that other place." Rather than be bound by the borders of one or the other, Gil searches for the spaces in between wellbeing and sickness that cannot be so simply stereotyped into a dichotomy.

Gil utilizes photography that documents the numerous medical procedures and treatments required to manage the rare, life-threatening, chronic, and disabling conditions that are part of her life. However, she resists romanticizing or dramatizing the experiences and instead chooses to focus on making the invisible visible. 

Images reduced to abstraction become a metaphor of her own body's objectification and dissection throughout her medical journey and, juxtaposed with human forms, they signal her discovery of creative ways to adapt to new normalities.

As a body of work, Invisible aims to foster resilience, the artist's own, as well as that of others, and transform ideas of healing away from fixed mindsets, towards growth and towards accepting our bodies as idiosyncratic and beautifully imperfect.

Invisible also amplifies the voices of the ill, especially of those whose voices get forgotten in the rush of the status quo.

* From the forward of Illness As Metaphor (1978), p. 3