I create structures using my own formal and conceptual language to address the collective mind. It is important for me to know the history of the material or object as a referential image. Sometimes I leave the image untouched, or I might rebuild it without completely erasing the original. This way I add some other references and visual games that emerge from the process of creating the piece. This way of constructing has being influenced by my background, my origin, and my Latin-American culture.
There are innumerable ideas and memories stored in the subconscious and linked to certain objects. The legacy these objects accumulate for us throughout our lives can vary greatly. It depends on our social environment, geographical region, country, etc. Some everyday objects can be immensely significant to a person from one culture, but go unnoticed by someone else.
The objects legacy is like a signal that turns on automatically when we see something, hear a sound, touch a surface or smell any aroma. Suddenly the sense organs search on the immense archive we have been building along the years. Our senses try to recognize what they have perceived and send us the answer immediately after. For example: When we see a piece of ice, we automatically relate it with winter, coldness, loneliness, nostalgia, and preservation. Another example can be the image of a bed that makes us think about sleeping, intimacy, privacy, relaxation or desire.
Another very important issue that is also related with background and history is my interest in using public space and the urban environment. I create interactions, performances, sculptures, videos, screenings and installations. I do not try to change the urban environment. Rather I invite people to a social reflection, to use their mind, to work with their collective every-day experiences that many people may not think about because of the fast pace of this post-utopian epoch.
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