Well, the truth is that I have never considered it and it is not even an issue that worries me. If you refer to whether I follow any style or fashion, I can tell you that my career has always been oriented in the direction that I myself have been marking, regardless of going against the current or not doing what is fashionable. All my work unfolds in a language that aims to place the human figure at the center of experience. Like all language, the main purpose is communication. I represent the image that I want to convey so that it finally ends up within the viewer, as Cezanne said, and it is the viewer who, ultimately, makes a reading of the work according to its precepts and conditioning factors. Within this communication process I use a series of resources, let’s say they are signs of a codified system, which are reiterated throughout my work: the palpable malleability of matter, the fragment as a whole, the classical resonances and the nude as seduction… I try to say what I want as clearly as I can. I am convinced that in this communication system that is the artistic language, the viewer plays a very important and primordial role, because he is the one who finally extracts the reading of the work and is the one who ultimately hears the personal and non-transferable voice of the author. To be honest, I have never felt the desire to belong to any trend or to be connected with any artistic current. I think that the search for that personal language, that own style, should not be forced; it is something that will come, or not.
The fragments of the female body stretched out in plant branches are intriguing. What’s its purpose?
The fusion of elements of different nature to give rise to new ones of mixed characteristics usually produces an intriguing result precisely because of the unusual and unexpected. In this sample, the body, both female and male, is fused with plant and other elements. From this union new forms are generated whose purpose is to invite reflection. Mutant forms that invite you to detach yourself from your own body and imagine another reality. These hybrid forms are born from the will to understand what surrounds me and they try to question perceptions.
“In art the viewer is essential, when reading the work and hearing the voice of the author”
The infinite body, a very ambitious metaphor What does it mean …?
The infinite body is my particular universe, in which the body reveals itself to its objectification and dehumanization and claims to be a holistically constituted entity. We are currently living a difficult time and art cannot be separated from it. Everything happens at an astonishing speed, we are surrounded by noise on all sides, the rise of new technologies is amazing, the culture of the image makes us increasingly distance ourselves from reality, we design our bodies to measure, we live practically behind a screen… For this reason, the body is shown here as an agent of transformation, a hybrid body that makes the sensory experience perceptible. A discourse that addresses the human condition, its vulnerability to nature that resurfaces over and over again, despite everything, and the recreation of this duality in a new eternal and infinite body. The body is presented as a valid tool to transmit messages about who we are. It is the closest. Its representation induces me to a permanent reflection. Every time I see it I find myself discovering new meanings, new details, breaking it down in such a way that it gives me the feeling that every time I am facing something new. I now remember a comment by Antonio Zaya who said that the body and sculpture are as inextricably associated as the human being with his desire. Its representation is an experiential learning that makes me aware of what I feel. I insist on looking at it in depth, answering all the questions it poses to me, but the more I work on it, the more doubts invade me and the more it attracts me. It is that place where I can take refuge and question myself, it is a place of permanent reflection and experimentation, a place of introspection that somehow makes me available to a relationship with the infinite. Hence the title of the exhibition.
It seems like a conceptual art commitment to pure aestheticism. What experiences have prompted the conception of this idea?
In a way it challenges the definition of conceptual art and aestheticism. As I mentioned at the beginning, my work does not arise within specific artistic movements and I am reluctant to be assigned to -isms. Although I understand that contemporary art sees the need to do so, because somehow you have to make groups between so many trends. In my work the object is claimed and maintains a balance with the idea. In such turbulent times, I think that it is a requirement to return to the material, to return to the manual and to strengthen the eye-hand-mind trinomial because at the end of the day this conjunction is what makes it possible for the fusion between the work and its creator be complete. My studio becomes a hybridization laboratory in which I investigate and experiment with shapes and materials and their intrinsic qualities. But I am referring to experimentation in the broadest sense and not reducing it to the purely material. I’m talking about doing an exercise in understanding things, in reflection and introspection. I am referring to enhancing body awareness, developing multisensory perception, defending the original and something that is very relevant in human existence: the sensitive. Neither in my work is beauty pursued as the ultimate goal. I do not conform to established canons. In fact, in the representation of the body, the anatomy is modified, fragmented, altered in search of expression and with the sole purpose of expressing intentions and thoughts. That is why I insist so much on celebrating the body in my creative process, because the body is after all where human identity is translated and formed. Today I think that you cannot establish what is beautiful and what is ugly. The limits are fuzzy because they are subject to different perceptions.
How are your artistic development projects?
If what you ask me is how is the realization process or how it is developed, I have to say that it does not differ much from any other project. It is developed in stages whose order does not necessarily have to be the same always and sometimes I can even skip steps. I start with a research and exploration phase; I see what my needs are; I generate ideas, sketches and drawings to study and evaluate the concept; I develop study models, although I don’t always do it; and I arrive at the physical realization of the work in which I explore with materials, techniques and processes. In reality the end result of the process is not predetermined. I try to represent the body with the intention of communicating a thought and I always face issues related not only to technical processes but also to those related to the concept behind the work that I design; I make an effort to find “the soul” of what I do because I am convinced that this is where the emotion that a work can transmit lives.