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.
I choose a work that I did in 2006, it's called “After all”. In this case I broke a vase, throwing it on a big paper that I had previously put on the floor, where I draw the shapes of every single broken piece of the vase, respecting their exactly location after the fall, then I used this mold to catch a piece of wood and built a case to save it. I like to say that I do what I want to see and the methods search for resolving it is what mobilizes me; I create a system for each work, limiting medias and materials, I set up operations, combinations and I just accept the results of this new order like if it were natural and logical. The majority of my works is inserted by an idea of intervening and generating the upcoming of objects, images and situations. With this precisely work I wanted to exaggerate the situation of breaking something and instead of throwing out what is broken I decided to preserve that moment just how it was. It's like investing a particular history to the objects, animating them, making them live methodically a violent situation and after all, and without being what they were, return them to a delicate calm. When you use strategies that changes the codes uses and a logic for redefining is found, you cross from a familiar world to a non familiar, creating structures that even the conscience didn't have news about it. This is the most attracting point for me: the challenge of putting out of order the daily pieces, simply, putting in evidence the new animating rules, in a way that the viewer can be able to keep reading what that was for understanding what that is and live that journey like a comfortable and natural trip.
2. In general terms, how would you suggest to approach your work?
With the same emerging expectations when you open a present or when you receives a surprise but in a world where the relation to things is peculiar, extraordinary and it's driving force is the chance that everything can be aesthetically different.
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?
To be friend of Magritte, Pizarnik, Sarah Sze, Matta Clark, Orozco, Ingres, Caspar Friedrich, Ignasi Aballi, Silvina Ocampo, Manders, De La Tour, Hokusai, Coombs, da Vinci, Alÿs, Gondry.
