More than representational media or a specific technique –painting, sculpture, installation, or drawing- my work explores a historical moment in which information technology seems to appropriate the world, fading the limits between reality and fiction. With the appearance of “new media,” and especially the arrival of the computer, the complex circuit of signs has tattered. We find ourselves immersed in a mire where meaning and signifier lost any kind of connection: signifiers all around incarnated by zeros and ones, complex and inaccessible, colliding with meanings impossible to read from a sensible universe.
The raw material of my work, often related to codes and numbers, algorithms, and complex computer-generated translations, always ends up falling into the domain of craft. A concern perhaps arising from a world less and less tangible, a world of growing material scarcity, a world dominated by instrumental reasoning, by techno science, a world that offers fiction and simulation as a synonym for progress. From an artistic perspective, particularly visual arts, I vindicate the object in a world responsible for comprising the human spirit into microscopic silicon devices incapable of speaking for themselves. The gestures and processes present in my work, as well as the materials I use, are mere signs that question the attempts of reproducing realities through devices external to the body itself.
On occasions, I prefer figuration rather than abstraction and an image inclined to iconoclasm usually primes. The materials and resources frequently change but are always ordinary, of easy access: industrial paint, polymers, metals, magazines, acrylic. I paint and draw. Sometimes I write. I print in an old dot matrix printer. I assemble materials already processed by digital interfaces. I use adhesive templates, manipulate digital archives, drill, polish, design.
I like to think I do “conceptual art,” because I have come to understand, from Sol Lewitt’s words, that the idea is the engine of an art piece. I have created different series and projects that go through the formal possibilities that are within the frontiers of impulse and proper research. Hefting the possibility of a mind reproduced in an artificial substrate, or in the progressive disappearance of the spirit, have taken me to think in the opportune necessity of recovering those manifestations that have succumbed to the reach of digital effort. If in today’s world atoms become bits, let’s make sure that tomorrow bits become atoms.