Artist Statement
As an artist, I use different mediums to express themes of change and permanence, through
both the content and the construction of my work. I believe our actions reflect our inner
questions, desires, needs and dreams, and I have explored this in my studies in Film,
Architecture, Visual and Plastic Arts, and Philosophy.
My creation processes are influenced by the philosophical debate between Heraclitus and
Parmenides: of whether matter is eternal, unchangeable, or characterized by constant
change. My current work is designed to explore the concept of “The Other” in this
threshold between change and permanence.
As artists of the 21st century we have the advantage of having seen the benefits and gaps of
the two movements that reigned during the twentieth Century. For the development of my
work I am influenced by modernism and postmodernism theories, and I work in both
postmodern and modern methods. I use postmodern mediums such as performance art,
installation, and video art, as well as more classical mediums such as painting and space
creation.
Theoretically, I agree with Gilles Deleuze’s Rizomatic model: instead of creating static
models of values we should be prepared for their constant evolution and natural flow. Even
“reason” should be questioned, and the boundaries and possibilities of ‘reason’ pushed
further outwards.
Likewise, I also stand for modern precepts such as the belief in a project and the “to be”
instead of the “not -being” ” proclaimed in post-modernity due to depression and
disappointment after the two World Wars.
I believe imagination and abstraction from powerful art, throughout history, is a sign that
transformation in daily life is possible.
I believe the concept of “idea” which artists like Kosuth in the 1960’s promoted as the
whole meaning of art, should shift towards art making. Artists like Kandinsky gave art
autonomy from other disciplines; bringing the artist into the studio, in order to think (idea)
and make (material), therefore, idea and material can be synthesised together.
I believe that by constantly re-evaluating, artists can discover new tools and solutions
where originally there was a clash. Opposites in art can compliment each other.
My work embraces the three following main ideas, sensibilities, and experiences:
1.- Tolerance-Intolerance.
2.- The Meaning of Space.
3.- Struggle with Duality.
1.- Tolerance-Intolerance
Over the last few decades, there has been a push promoting equality and denouncing
intolerance throughout the world. Nevertheless, there is still an overwhelming amount of
intolerance today. Through my work I depict the theme of intolerance; and look into how
because of fear, insecurity, confusion or pain, we are able to bear intolerance and injustice.
I look into how we tolerate the intolerable.
With my work I do not believe I will transmit some sort of divine message that will
miraculously transform society. I do not want to be didactic or try to ‘improve’. The work
is simply a response to what I see. It is an attempt to connect and explore themes of
survival and endurance, to reach out with art and ideas to other human beings who may
relate.
2.- The Meaning of Space
My interest in space comes from my most primary sense of understanding life, because
through spatial awareness I am aware of and brought to myself; I am able to understand my
existence by my capacity to fold and unfold in space.
From the experience of expanding outwards, physically extending, I see how we mark ‘our’
territory, and this is a primitive form of construction and creation.
From the experience of withdrawal and introspection, I see our capacity to recover and
learn from our outward expansion.
When we mark our territory by ‘owning’ a space, we can gain a sort of physical realm of
protection. But this can also isolate us. In claiming territory as ‘ours,’ we build walls,
blocking others from this space.
The process of expanding and then withdrawing for reflection is an ongoing cycle, but it
can become an exhausting and endless task.
Through my work I try to show this idea, with a search for a mutant space; in between. It
transforms from a cubic structure, to a square marked by tape on the floor, to the nonexisting of the mark.
3.-The Struggle with Duality
The notion of duality; the inherent contrast between two connected things, stems from as
far back as the Neolithic period, where they encountered it through the acknowledgement
of death. The concept of transcendence comes from our primal dual relation between the
sacred and the profane, and our battle with this.
In life we often focus on immediate satisfaction. It is tempting to search for a linear way of
life, without personal transcendence, just to focus on survival and a means to an end.
However, every action and every inaction or silence is the origin of creation, change and
permanence. Everything has a consequence, and brings motion.
In my work the idea of duality holds a constant presence, since compelling opposites and
duality is in our very essence, and can lead to enormous interior conflicts. We see duality
everywhere; masculine/feminine, life/death, night/day, self/other.
I believe the greatest struggle is not with the unknown “other” but actually with ourselves;
an inherent duality and opposition within each of us.