My body of work encompasses an undisciplined, appropriationist, and Conceptual practice. Examining the blind spots of a sector that promotes progressive values yet remains subjected to market dynamics, I seek to explore the intersection between the pictorial and the digital.
My artistic practice addresses themes such as the transcendence of pictorial connotative codes, the instability of meaning in language, permanent connectivity regimes, speed, the “crashed” society, the Internet, the role of new generations who are more uninformed than ever despite having more access to information, and the problematic pictorial references we have inherited in the category of “geniuses”.
Through different media, I seek to free the spectator from the duty-free zone and the romanticized vision of the artist, inviting them to a reflective contemplation — without a supplement of dignity. In this process, I use error, interference, and discontinuity as strategies of resistance against the inertia of visual language.
Despite everything mentioned, I would like to emphasize that everything concerning my practice originates from the pictorial. For me, painting is neither a device of mimesis nor of technical virtuosity. It is the residue of a language prior to its semantic domestication, a system of signs in which the possibility of meaning is always on the verge of disappearance.
It is not bound to established codes or the need for explanation; it is an autonomous language that resists categorization. As Jacques Derrida said,”Language never says exactly what we want it to say”, but painting does.
