MATTER/MATERIAL

Works organized in series of long-term realization and located between different areas, subjects, means and forms, that investigate the intersection of the arts, technology and philosophy.

 

Areas: information, control, space

Topics: entropy, propaganda, speed, power, pornography, security, body, cities, virtualization

Media: word, painting, drawing, objects, photography, sound, video

Forms: figurative, abstract

 

A where

After study and practice in the fields of the arts, humanities and technology, I have been developing, intuitively and systematically, an approach that transparently integrates a collection of techniques from different fields which are applied purely with expressive purposes.

 

A why

Through the chosen topics, I intend to respond to the anguished question of "how is it that I am myself" without this introspective inquiry necessarily translating into an act of excessive exhibitionism or intellectual onanism.

 

A how

If, with the use of words, I use the mask of artifice under ambiguous prose, whose subsequent language is the logical verb-made outcome of a hurtful uprooting that assumes existence as a turbulent inner battle, with the manipulation of images, I transmute over different media and forms a visual imaginary that are not necessarily mine for, from a magma of randomness and whirl, of contained viscerality and convulsive flesh, emerging that singular emplacement that forms in my sharp mind the uncomfortable intersection between an extreme questioning and an always ambivalent reality.

 

A result

The resulting works are grouped in series with a marked component of forensic dissection, possessing also a certain allegorical and, furthermore, hermetic character, since the ultimate meaning of what underlies my introspection in the work in question is often hidden. In addition, they may be considered, as I am told, particular examples of palimpsest, due to the coexistence in them of various superimposed layers of content and meaning.

 

A reaction

Without taking into account all the above, the first reception of my works should be essentially visceral, because without appealing directly to the emotions any further consideration is more than worthless. In later readings, and as this emotional reaction -if it were to occur- would decrease, one could enter into a rational analysis. The fact that there is a premeditated architecture in any elaboration of a work of mine does not presuppose its explication to the observer, since it would inevitably distort its reception. At best, a series of clues are offered to the receiver, if he/she wishes, for linking and interpolating as he/she seems best to arrive at his/her own assimilation of the work, regardless of whether or not it is agreement with my original intentions.