Tea time Print

My creative training has been partially self-managed; and being an assembler in my father's mechanical workshop for years offered me a continuous flow of invaluable knowledge that I would later and unconsciously apply to my artistic work. The contact with the design, the symmetry and the internal distribution in the components of the car, became my great references when composing. In 2010 I started to work on collage, sculpture and photography; later I ventured into and incorporated assembly, stencil and engraving; which resulted in an experimental fusion of techniques that led me to the development of a personal graphic and plastic cosmogony. In it, a variety of objects and materials from different sources converge in a necessary transformation to achieve the creation of a work. A society full of mass productions brings with it large amounts of waste that, over time, accumulate and cause serious damage to our environment, hence the importance of recycling. My small contribution has been to transform forgotten or discarded objects into conceptual and complex works of art. I rescue books, magazines, toys, organic, inorganic, synthetic materials and all kinds of objects to assign them new roles and identities within a composition. In my creative process, the origin of a work lacks an initial protocol, often an object has enough power to detonate an idea, other times the idea leads me to search for the means to carry it out. I have organized my work in two concepts according to the ideological background in its composition; the documentary addresses social or autobiographical issues, such as the state of global contingency or illnesses in my family, while the ornamental focuses on aesthetics and harmony, some pieces achieve humorous and ironic touches that sometimes manage to evade the plot.