Anonymous Sculptures. Albors, Valencia - Limited Edition of 3 Photograph

Born in Albacete (Spain), 1968. Over the last few years I have been developing an artistic project whose main medium is painting and drawing, and which analyzes the idea of abstraction, trascending its purely formal meaning and is elevating it to a conceptual level, its genesis being the idea that every form is provided meaning. Both allow me to experiment with the ambiguity and combination of form-sign and text-form, building formal and syntactic contents which create a still multiplied and focused image where the viewer reads and decides its duration and level of analysis. I use strategies such as observing images of diverse nature and origin, and rereading social and artistic discourses in different genres. They allow me to analyze the society from mixed and multidisciplinary points of view, and to question how we build our idea of reality. I am interested in investigating the phenomena of subculture, politics and contemporary art, especially regarding the rise of generational movements claiming social change, or phenomena of postcolonialism and control. With all this in mind, I intend to reopen questions about past events and statements that have been left meaningless, trivialized and absorbed by the society, and make as valid as possible again. Rather than to say something, my work aims to connect with someone, to stay alert and remain vigilant, to be aware of the environment not in order to change it, but to at least raise awareness of it. In short, my work since conceptually addresses the apparent contradiction, the double meanings , the conflict, fragmentation and discontinuity. It questions the speed of contemporary social and artistic events, and vindicates the eternal present of painting, so often destroyed. Formally: matter, shape, time and frozen process The structures insert themselves into the text as meanders, the stratification, serialization, accumulation and automatic drawing flood the compositions (structures), which open the way to a more plastic and sensory reading. Texts like voice-overs create a space for action and memory. A coupling or "assembly" of shape and text pursues a clear aesthetic objective, at the same time critical with the watchful eye. Time is crucial for observation and reading, something demanding for instant happiness of the present and the rapid visual consumption. This worries me, therefore I talk about it.