Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
In different ways I think all of my works represent me. As their commonplace I could mention their seek to provoke the environment, see failure as part and invite it to dialogue, to confront, as appropriate. A point of inflection could be the first project in which I did not actually take photos, instead I chop them. They are some collages I did with the heritage of one of my grandmothers. When she died, our family left in my hands all of her photos.
Initially I ordered and qualified the material, it was very neglected. From that moment I felt that I had to do something with it, so many images in my hands were a provocation and I wanted to move away from the nostalgia. I tried to work with the black and white, ones, my dad’s childhood. But to cut them was unthinkable and to change the media making reproductions of them made them lose much of its charm. Simply overcome by the temptation to put my hands into it, the game started, somewhat sacrilegious, of cutting and pasting. I had the need to change the way I was working and put a touch of humor to the matter.
The collage I chose to describe is a small work, mounted on a stand-wrapped natural denim that respects the size of the original copy (10 x 15 cm.) Is made exclusively with original photos that were taken and copied from the 60s and 80s. A key feature that gives a bonus to the series: negatives were not preserved. I tried to add material in order to manipulate the outcome a bit more, I searched among other pictures but did not fit, she and the spirit of her trips are a part of the character and personality of the project. It is a very tough job, because of the scale, it becomes obsessive.
When I have had enough and was relevant, I sent some to frame and the whole idea just worked, like it had never happened to me with a photo. Moreover, I usually hinder the frame, the glass ... But with this series the framework just helped to complete the picture, gives them character and protection.
2. In general terms, how would you suggest to approach your work?
I think the way to approach any work is trying to ignore previously built structures given by experience or preconceived expectations. And if necessary, to make an effort to enter it, I feel this way it is more significant what one gets as a spectator.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
The traditions in which I recognize myself or that interest me are varied, and that also applies to the artists I will mention. Disorders: Robert Frank, Vik Muniz, Laurie Anderson, Roy De Carava, Annelies Strba, Disfarmer, Hiroshi Sugimoto, Madame Yevonde, Sylvia Plachy, Grete Stern, Michelangelo, Bill Viola, Jonas Mekas, James Turrell, Miguel Rio Branco, Egon Schiele Juan Travnik, not including writers and filmmakers. Then there are Mabebe Delgado, Margarita Fractman, Tuti Maglio, Cynthia Kampelmacher, Tim Lehmacher, Juan Lado, July Fucks, Allison Lelawski, Aili Chen, Esteban Pastorino, Eduardo Navarro, Sandro Pereira.