Any authentic process of artistic production is, without doubt, a carefully thought out elaboration of profound and vast intervals of silence; the still tongue that awaits the properties of consciousness as an intervening element. In their various manifestations, these processes produce a multiplication of signifiers that allude to a presumed language of meanings.
Beginning with the very decontextualization of the objects, the inexhaustible changes, the figures and the changes, my rupture – or to put it in other words – the visible enunciation of my work, could have resulted in an event, if it were not for the violence of our wounded spaces, for painting now (still) is violence. How much rapture, fissuring, fragmentation and the shredding of the already torn are there in each fragment that is acutely unique, a fixed point? Patience runs out, the name fragments, disintegrates, passivity becomes patience: that which is risked is in danger of being lost.
With the erosion of mediums and circumstances, I make marks and take contemplative steps, isolating a series of acts, which are not in themselves truly important: it is only an accumulation of daily exercises. The years have diversified to the point of reaching the most minute details of existence and it not only in time that all will return to how it already was a thousand times before.
I like to work with used materials, for the concentrated energy that emanates from them, they have a lot of light. I don't work with trash, but with last life.
Those materials have a previous history. My art pieces concentrate on that energy. I continue it's life by recycling it, by using it's previous life, energy, and history to tell my own story.
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