I was educated by an artist father. At home and in the classroom. So, for me, art became the natural means of expression. Although opposed to the traditional vision in which the artist chooses a field of work - sculpture...
Read MoreI was educated by an artist father. At home and in the classroom. So, for me, art became the natural means of expression. Although opposed to the traditional vision in which the artist chooses a field of work - sculpture in the case of my father- my approach is diametrically opposed. I believe that the medium should be adapted to the idea you want to convey. So I found myself working with sculpture, painting, comics, photography, video art, installation and performance, what I needed in each case.
In fact, through my work, I look for contradictions to reveal different approaches, which helps me to question my own convictions, to exorcise my fears or rethink my needs. This is what happens in my relationship with loss, both emotionally and materially, a deprivation that always leaves its mark. That is why nostalgia and melancholy pervade my work about the becoming and the consequences that the passage of time causes in humans and their environment, and the transcendence and sediment that we leave in our absence. Or the loss of innocence, the loss of trust in a society that I see in an increasingly critical and ironic way.
Furthermore, I also work as a teacher, which has been really beneficial for my work, since these two facets are not the two sides of a single coin, which never meet. My plastic work is influenced by my educational approaches and these are completely flooded by the artistic creative processes. For this reason, when I talk about my work, I do not differentiate between two fields of action. Surely there lies the origin of my interest in the perceptual system and its skewed interpretation based on vested interests, both to question it as to take advantage using it as a starting point; or the relationship between the media, mainly the visual and literary.
