One of the main characteristics of my artwork is working from the expanded field of sculpture into the architecture. During the last few years I have made several site-specifics with the idea of turning the passage through an exhibition room into a sensitive journey. I consider this line of work as a way of searching new forms of creativity and communication, such as interaction with the spectator. The prime matter for my work is the space produced around the sculpture, taken this as a border between two versions of the same place.
The relationship between sketches and final works are altered in the working process of the sculpture and the final material of both elements are interchanged to reinforce the meaning of sculpture as a mental process.
The spectator’s view is one of the clues to understanding my work. This point of view is nothing but innocent, it is loaded with cultural references, personal history and collective memory. I need the spectator’s active involvement to complete my work. Its complete meaning is achieved when it comes out of the studio and is experienced by the public. I search for meeting places, ways of touching the other. I would like to provide elements to subvert the perception of the closest reality around us, to find new forms of collective communication. To build places that reflect their constant evolving inhabitants, their choices, their perception of time, their behaviour, inner temperature or even their inner mood.
My artwork is a socialisation of space and a source of new lectures on reality, a product of this collective experience of space.