In approaching such various media as sculpture, performance, drawing, film and photography, the unifying drive behind my works has been to study the marginal and unseen work gestures involved in processes of building.
In constant confrontation with monumentality, my sculptures and exhibition displays seek to deconstruct forms and spaces in the architectural domain.
I show the fragility and precariousness of the architectural spaces in which we live. The eye that I direct to built spaces seems not to distinguish between what is still in life and use and what is ruin.
I essentially work with found material or materials I found in specific contexts. Naturally then, many people ask how my work is related to the possibility of sustainable practice. In fact, I do not integrate at all the concept of sustainability in my work, certainly not in any direct fashion and not in order to find solutions or answers. I am instead part of the drama of the modern production, which produces more waste than value. The decision to use found material is more a linguistic choice than a political position, creating an idiom that reveals the materials and objects created within a certain regime of production.
I understand the present as a stratification of ruins, and if I were to use a virgin material for my works, I would use it as waste. Everything we produce, tragically, projects its future existence as ruin.
I am interested in a form of experience in which everything, no matter its momentary appearance, becomes projection and the artist attempts to question him or herself and the viewer in their visual and spatial orientation.
I look then, for scale reversal, loss of proportions, discontinuity of surfaces and lines and confusion of in and out-door spaces. In the course of the last few years, sculpture has become my main practice. Although it needs a constant redefinition of temperature and degree. It is certain that degrees in sculptures measure space as well. Well, for me they go from 30 to 360, though I rarely reach 360 because I prefer that myself and the viewer consider the 360 degree the space around us, rather then the space around the objects.