Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
From the interior to the exterior is a multiplicity of possible meanings. We are influenced by innumerable flows, cross by endless profusion of images and languages of all kinds. They come from the outside but they are a part of us, they are close enough to feel them ours, close enough to feel ourselves apart of that. Reflection and incarnation. Therefore, they also come from us, we feed them with our experience and they grow from our work. We are a collectivity, at the same time spectators and creators. When one grows on the basis of the so-called interior, one has very particular perspectives. First of all, that interior implies an exterior, a contention, a form, something that we are missing somehow. That is due to our “impossibility” of being in both places at the same time, when in fact we can. One day, a very early one, the vital training unveils as artistic, and then we know it lasts forever. The interior that matters is a real one, an ideal inner world, a transformation of the outside world; when I look at it, that world mutates right in front of us, unfolds with immeasurable richness: becomes the core of our communion and communication needs. There is no longer inside and outside: the dimensions are multiple and dance together, like interfaces, in front of my perception. I close my eyes, I open my eyes, and when I look at the world, all facets of my being are unified.
2. In general terms, how would you suggest to approach your work?
It means a balance, an awake and calm one, ready to change directions according to the movement of every single instant. I love producing images for specific places. I like observing a place and finding an immediate form for it -through an idea of making it mine-. When you put things in one place, you make it your home. For instance, when you arrive to a place that is all empty and say: “I would like to place this here, and there…”, all through that time, that space is yours. As if you were given someone else’s home. And where is my home, there are paintings, and where there are paintings there is my home.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
Guy Maddin, Prince, Ursula K Le Guin, Neil Gaiman, Andy Warhol, Jonathan Messe, Tomas Maldonado, Fred Kelemen, Satoshi Onno, Nicolas Gullota, Rei Kawakubo, Max Planck, Diego Bianchi, Shelley, Henri Michaux, Leopoldo Estol, Oscar Wilde, Vera Chytilova, Paola Vega, George Bataille, Eduardo Navarro, Kenneth Kemble, Martín di Paola, Peter Handke, Gimena Macri, Mariano Blatt, Andres Aizicovich, Harun Farocki, Mantrulcomics, Gabriel Orozco, Itamar Hartavi, Rosario Zorraquín, Emily Dickinson, Cotelito, Gaspar Berger, Dave McKean, Sono Sion, John Waters, Lola Berger, Doris Dorrie, Juan Chaneton, Franz Ackerman, Michael Haneke, Patti Smith, Tsai ming-liang, Leonard Cohen, Georg Baselitz, Hyun jung Kim, David Bowie, Nacho koxon, Peter Sutherland, Pier Paolo Pasolini, Fernando Pessoa, Michel de Broin, Carlos Bissolino, Brian Eno, RyanMc Ginley, Nina Hagen, Steve Reich, John Cage, Guy Debord, Jean Vigo, Nico, Lou Reed, Philip K. Dick, Yma Sumac, Saul Williams, Rainer Werner Fassbinder.
Happiness is an ideology. And someone says to one another:
the rest of your life begins now
the centre is everywhere as well as the circumference
the sight through the glass
makes things more brilliant
a day is from alive
all horizons expand
all perspectives are commanded by The Ray
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
Every time more expansive
something we are dismantling
and building
every time more connections
and implications.
