Statement

Among the aspects that the work exposes, three important points have been developed in the process: impossibility, time, and death. The first is reflected in the constant denial of function and the emphasis on the impossible, narrating tensions and exalting oppositions. The other two are seen in the use of objects that have been forgotten or are no longer in use. The work creates structures of matter and stories in volumetric pieces that tend to show a certain nostalgia for their time. It chooses to adopt objects that have fallen into disuse, intervenes in their form and lost function, and assembles structures where geometry is clearly expressed. Encounters with the raw material often happen on the street. More than being abandoned, the objects bear the scars of human violence, the blows of weather, and the nature of the material. They seem determined to stop being themselves with a determined function and to become the friction of time and forgetfulness. Leaning against a pipe or lying on posts, sharing space with the stench of urine, these nameless ones are collected through a nearly entirely passionate curation. They are included in an inventory that lacks disdain and nullifies desolation.

The life-death idyll is the conceptual backbone of the work. From there it is born and developed. The found object was dead in life and is now highlighted and implemented in a sculptural and conceptual process.

Chairs, furniture, blinds, logs, windows—a variety of objects intervened and frozen in time. Others are embedded or have inlays, like memories lodged in the mind. Books, ropes, wood, paint, fire—a whole dialogue between materials and objects. The work adopts the nameless and baptizes them with a new order that communicates with the space and offers mature stories; an order that is installed in sculpture, in painting, and above all, in poetry. The object now becomes a memory, a past imprinted in the work. Time has stopped and left immobile scenes that evade death and narrate just a bit of what they are no longer.

The work expresses in various forms and through different media a yearning for the time that has already passed, like the function that no longer exists or the scar that the past has left in the material.

The idyll of life and death is the conceptual backbone of the work. It is from there that it is born and developed. The found object was dead in life and is now highlighted and implemented in a sculptural and conceptual process.

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Chairs, furniture, blinds, logs, windows. A variety of objects intervened and frozen in time. Others embedded or with inlays, like the memory that is embedded in memory. Books, ropes, wood, paint, fire. A whole dialogue between materials and objects. The work adopts the nameless and baptizes them with a new order that speaks to the space and offers mature stories; an order that is installed in sculpture, in painting and above all, in poetry. The object is now a memory, a past imprinted in the work. Time has slowed down and left still scenes that evade death and narrate only a little of what they are not now.

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The work expresses in various ways and through different means a longing for the time that has passed, like the function that no longer exists or the scar that the past has left on the material.