After leaving abstract painting behind, my current research focuses on the construction of visual systems through the recomposition of images and on the way their presence is placed in space, as the continuous possibility of a flow that can change position, point of view and experience.
I work with original photographs taken from the external world, digitally cut so that each fragment can function independently, both visually and compositionally. Once printed on matte or glossy photographic paper, they enter a process of photographic and paper collage, in which the two techniques may remain distinct or overlap and merge. Real elements and internal perceptions coexist, at times without fully reconciling, holding their own opposing force and each maintaining its own visual and material autonomy.
Photography is the material, collage is the procedure, and structure is what remains. The visual system is not fully conceived in advance, but develops through the continuous handling and relocation of the images. The visual flow determines the work: the image leads, while the support and the structure follow its movement.
The image starts from the surface, but it may not stop there. At times, movement remains within the composition, in the way fragments can be followed or can disturb one another. At other times, it extends into the support itself, which becomes articulated as it accompanies the formation of the work.
The works can function as frontal surfaces and, at the same time, as physical bodies to be seen from the side, walked around or experienced in space. Their structure leaves the point of view open, creating perceptual fields in movement and suspension, in which the eye wanders, changes direction and never fully comes to rest.
The research remains open because the relationship between image, flow and structure cannot be fixed in advance. I continue to follow how the visual field forms and how the structure can respond to it, without bringing the image to a frontal or definitive condition.
