Removals (detail) Photograph

The ruin has always been part of the memory of the past; it presents itself as a synonym of transformation, of the presence of the past in the construction of the future () However, in the ruins of our present, this symbolic charge cannot exist, as they do not come from the past; there is no time in between the ruin and ourselves.
Rosa Olivares, The incomprehensible beauty of tragedy in Ruins, EXIT Magazine, n24



We live in a society based in massive consumption in which everything has to be productive. Spaces, images and objects follow one another at accelerated pace; they pass in front of us without giving us the chance to assimilate them, or to realize what is disappearing with them.
I started exploring this idea with Photography, about three years ago, when I was living in London. Being a completely new city, I acquired the habit of wandering around the streets of forgotten areas, armed with my camera and a notebook. In the photographs and notes I took, I began to recognize a pattern and see signs of a city in constant transformation: pieces of furniture that had been abandoned in the streets, buildings under demolition and billboards worn and torn by the action of time.
An interest in what is not productive anymore in our society and looses its function emerged, and I started to look for and compile those spaces, objects and rituals that become obsolete and we leave behind. I share with many artists of my generation a concern in the idea of waste and abandonment in the consumer society. How we are forced to be constant producers of ruins, opposite to the proliferation of objects and spaces without memory, are questions very present in my work.
I am interested as well in using exhibition spaces, assigned for advertisement, as spaces in which to intervene with a critical discourse against the consumer society and visual saturation. This interest is present in my work in the manipulation of commercial catalogues, the shop as scenery of a silent guerrilla action, the shop window in which there is nothing to see, or the use of billboards to speak about the absence, the place and the memory of a city.
I feel close to the idea of the artist as an analogue figure of the refuse collector, the archaeologist or the curator of found material. I frequently use the appropriation and recycling (of publicity images, situations, found footage, etc) as creative strategies to develop my projects.