STATEMENTS

While looking at the clock hanging on the wall, I feel like the time has stopped. The seconds-hand of the clock appears to freeze. The brain doesn’t recognize it as a low battery problem; the signal is that the time has actually frozen. After an undetermined time-lapse the seconds-hand moves again and I understand that it was a time illusion.

The constant analysis, decoding and reflection around the conception of time is what could summarize my artistic research. If something distinguishes us from the rest of the animal kingdom it is our consciousness, perception and construction of time, which has evolved parallel to humanity. Now, future, speed, duration, change, periodicity, repetition, ephemeral, end, etc., compile the reappearing glossary of my work. The investigation of these terms is integrated in a phenomenological strategy to explore our understanding of time as an existential and cultural concept.

Having a classical formation as a visual artist, early in my career I showed more interest in time-framed projects, than in formal structures that could hang on the gallery walls. This increasing weight of art as an experience rather than art as an object seems to be spread around most cultural institutions in the last years.

While actively being an interdisciplinary maker, most of my works take the form of performative installations. These installations, initially motivated by political, aesthetical or intimate reasons, end up performing their own temporal essence, aiming to raise questions in the audience rather than giving answers.