2016

The core of my works is an ongoing reflection on the notion of sound and the act of performance as an open, dynamic process;

Conducting oneself with the use of time-based acts but also installations and relational works involving diverse communities-people with no previous art-making experience, I believe in a body of work, which allows a space for change and new discovery.

By constantly searching the role of the observer and how could seeing be more than looking, I deconstruct the visual identity of subjects and objects, infusing it with a totally new acoustic identity, reinforcing the physical and diagetic aspects of a soundscape and its aesthetic qualities.

Working in an interdisciplinary format with actions, ephemeral events, fragments of objects, and happenings; I am adopting whatever practices, system, or materials my concept prompts, enacting sound as a central element.

One can picture the placed situations in my performances to be a continuous relationship between different elements of a network that includes bodies, memories, and experiences, being diverse soundscapes that provide clues as to our conceptions of space, and placement of ourselves in it.





2015

What I am interested in is how we, as creatures of infinite inner contradiction, represent reality in our current situation, at that exact moment, at that exact moment, and at that exact moment...

All works of art come from the facts of everyday life, from the texture of lived experience, nevertheless, how the world looks-feels is constantly changing, from second to second inside each of us in ways that are unseen and not immediately within our grasp.
One can wonder then, whether a work of art can be more living than life since life is always unstable and fugitive.

My multifaceted practice involves painting, installation, music, video, performance, and collaborating work, elements of which are often worked together in exhibitions or events but lately I am particularly interested in painting.

To what end is painting under such conditions of its presentation?

Painting has always been considered as high art, a universal art, is understood ontologically, and has an essence and an origin but doesn’t freeze time.
It can be endlessly analyzed and experience is always changing from one person and one moment to the next.

It circulates and recycles time (Chronos) like a clock that ticks.
Seemingly, often circulates in exhibitions around the world, they are seen by people in various moments across time, in varying contexts.

Can a painting be considered as time-based art?

I am constantly trying to answer questions with my work, to achieve identity through a personal language of material basis, to defy stasis.

I work with actions, ephemeral events, fragments of objects, sound, gravity, paint, on canvas with the manipulation of Chronos as the essential element.

Then raise new sequence questions.