My perception of my surroundings, and consequently my work, is informed by an acceptance of change, movement and the perishable that can be found in every existing thing and everyday occurrences. Therefore, I am interested in proposing alternatives which unsettle the stability of paradigms and traditions. I’ve found indications of those alternatives by working horizontally, trying to give equal importance to all the media and material that I use. Within this aesthetical position, I believe that a strong political statement can be made: a statement on the unity of content and form, insisting on their non-hierarchic relation or refusing their separation. I also believe that the relation between the artist and the work of art should be horizontal or egalitarian, meaning that in many of my works, I don’t have a detailed plan of what I am going to do, instead letting myself be influenced by the work and the materials themselves. In that sense, the process is already a part of the work itself, and the work is meant to be a knowledge product. I believe that through a close relation with the materials, through a haptic and manual experience, it is possible to legitimise practical knowledge and the importance of practical experience when it comes to producing new knowledge.
The materials I work with are for those reasons ephemeral and fragile. My choice of working with diverse materials and media, such as drawing, video, photography, publications and sculptures made of wood and organic materials comes from a wish to resist the hierarchy of materials and thematics often found in the history of Western art.
At the moment I’m exploring a relation to contemporary discourses, with the intention of deconstructing Western dichotomies that have traditionally separated the rational from the sensual, the practical from the theoretical and the content from the form.

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