My research is concentrated on the experience of space and matter.
I’m interested in the physical, psychological and cultural narratives of the resources around us and the possibility of short-circuiting these in my work. Time, transformations and process play a central role, along with the cultural relationships and physical interactions inherent in any kind of space.
My projects play with the idea of crossing between inside and outside (artificial/manmade, proximate/far) in relation to architecture and landscape. My material research takes as its basis the connection between human life, quotidian objects, time and space – even and especially as our understanding of these are shifting in the contemporary world.
My works have their own logic but they always begin with a context, and they exist mainly in the particularity of this context. I enjoy the alchemy of entropy, and I like to imagine my work in collaboration with natural elements like fire or water, temperature and the changing seasons.
Currently and in the past I have worked in mechanical installation, formal sculpture, drawing practice (with machines I built expressly for this purpose), architectures, performance, photography, video and public art.
Tension, pressure, weights, fusion, and crossings are the main formal techniques I employ to symbolically reset some of the cultural parameters shared by my own society in the form of efficiency, rationalism, and utilitarianism.
When I was young I remember two real passions: firstly, climbing trees and staying up there for a long time, and secondly, making holes in the garden. I think this is the vertical line along which my practice is situated. My work explains itself through invisible process, a narrative of materiality, or in a suspension of subject.