My artistic language from visual memory using the means of photography and analogous video as the support. These artistic mechanisms function inside my work to prove that somehow they place us historically and also, they work to prove that their constant manipulation relentlessly leads to new languages that carry us to memory. These images are captured and/or appropriated from one-eye which fixes on what I want to belong to my collection, that’s the only way I can obtain them.

I take distance from the object I desire, giving meaning to the remoteness of oneself to meet with another. This definition when I use other artists’ photographic and audiovisual archive that does not belong to me. The act of stealing these analog archives is breeding ground for the construction of the work, where collective and private memory are joint. Is in that way that I search inside this archives how to be able to materialize memory.

To remember leaves print in our brain and the image is what helps us in that process. Is because of this that forgetting or the resetting of our minds is such almost an impossible one, unless there is some kind of neurological problem or a violent intervention like a lobotomy or electroshock.

In my work, I propose materializing that print or mark of the memory through the mistake. In this case, the photographical and audiovisual mistake is taken as something virtuous. When the film gets veiled because of the entrance of light, the wear away, or by manipulation. When stains appear because of the passing of time, or if we couldn’t focus at the moment of the photograph, those are the actions are reflected in my images and can give sense to the wear away memory.

The process of construction of image through forgetting has its treatment en deleted images, with stains giving meaning to memory. This is fragile, but is there, like a veil, covered in cobweb wrapping our brain, like the metaphoric diagnostic person suffering from Alzheimer’s disease