By exhibiting an alternative consistency of what is unstable a certain sense of pure possibility seems to emerge, a life-rich space where the inherited, synthesized, speculative and the ever-expanding experiments find home, a mobile type of home.
Unreason
I experiment –or expediently make art– with that sense of productive confusion that lives in the complex and material rich elements of life, a way to embrace a lively suspension of the character of an artwork distanced from structural systems or studio networks, this may be because in life, anything might happen, but also nothing at all; fragile and imperceptible at times, this is my mechanism to render explicit the uncertain terrain of reality –and of art–, a way to flirt with invisibility, and a promiscuous approach to the status of an artwork and its authorship.
Physical, ritual, mythological, cognitive, technological, biological and mineral are recurrent work materials in the processes of thinking and/or formatting artworks, all of them chosen because of their complex potential and destabilizing endlessness; when embracing and integrating these materials a lively elliptical contingent suspension of the character of the artwork seems to emerge creating a cyclic hesitation that is incessant and unpredictable, a type of echo-system that infinitely reflects ‘unreason’.
