STATEMENT

Based on this original need, I found myself wandering among the multiple concepts of travel, trying not to wander, at the end of 2003 I made my graduate work called Territory in which a first poetic sentence appeared that I determined as “the traveler’s look”, which curious and thirsty, approaches the look of a child.

“The true journey of discovery consists not in looking for new landscapes, but in looking with new eyes”, Marcel Proust.

The traveler as well as the child looks at the world with new eyes, and observing with those eyes makes the world present to us and communicate differently, offers us a reality that always merges objectivity with my subjectivity. (the intrinsic property of perceptions)
From then until now the sentence has not changed, it has only been decanted into a search, personal and creative, a drive perhaps towards the simplest and most natural.
In 2010 my body suffered a change from the motor center, for which I am lucky enough to celebrate double birth, and thanks to that event, perhaps that is the reason, I was really given the opportunity to look with new eyes. With resilient eyes, but evidently it was not only the sight that was involved, the whole body needed to undertake a new journey of discovery. Re-discovering the essential.
I continued, I continue and I will continue enthusiastic about the trip, I find it indispensable, but I try not to limit it to the physical displacement, the powerful mind makes you travel when you move inside yourself, you move when you read for example, when you let yourself be carried away by music, above all you move in a good conversation, and therefore you move when you witness art. Without a doubt, certain things and moments leave a mark.
Traces that when reinterpreted I brought to the paper, more specifically to the frottage. Being an initially archaeological technique, it captures in detail and to scale, the state of a find, almost a fossil of the trace of the passage of time. The taking of a trace (frottage), of the place and of my hands. The place where I pass the weight of the hand supporting the graphite makes the present material appear instantly, where all the times of the place are inscribed. The memory is extracted from the fragment, the material resting on the paper is the memory made gesture. I use graphite as a revealing material, with its allotropy it is a hardened carbon, which offers a vegetable and mineral order that together will be the decomposition of the bodies, immemorially buried, agglutinated in peat and coal.
Then in a process of selection and with the exercise of the memory we arrive at the conformation of paper Anamnesis. Artist’s books with the purpose of processing in results, as a contribution to a cognitive elaboration. Ideas that carry the concepts of nomadism, an important part of the development and study of cultural aesthetics since pre-Socratic times when the activity of a nomad as a spokesman was essential (Maffesoli, 2004). Also from dialectical processes, as W. Benjamin, thinking to the images, images of popular and playful culture; frottage, in the becoming of the sensitive, the images are dialectic in suspense, images moreover that are signs of a history in the detail, traces of reconstruction of a history by means of daily elements within the indexical-divinatory paradigm (Ginzburg, 1994), returning to a human essence of hunter, sharp observer.
And each step in this journey to the human essence, still requires one more turn, one more twist. Coming to need to observe beyond the merely human and return to the roots of all, to the vegetable.

“Look deep into nature and then you will understand everything better”, Albert Einstein.

This poetic sentence is my response to the stimulus of contemplation to the nature of plants as exemplary beings. This influence, my PHYTOTROPISM, has as a consequence a differential growth in my thinking and conception of reality.
Thus, I seed my sensibility in the plant world. To which I attribute a superior character to logic and intuition.
I investigate between the adaptation of its roots, the plasticity of its rhizomes, the reiteration of its shoots, the utopia of its sexuality, the resistance of its inflorescences, the attraction of its flowers, the receptivity of its leaves and its communication with the environment that surrounds them trusting more and more in the undoubted intelligence of the vegetal world. Its nature abandons the concept of the individual, communicating in another, more natural way. Parts of a greater whole.

The harvest, well, the personal fruit are these works that I still work, something mainly two-dimensional with a mixture that always has a figurative ingredient that comes from the plants (better if they are native, that always serve us as food, integral food) and another abstract ingredient that stains and interacts with the plant, with the pretension of not being only a representation of the model, not only to look like it, but to open a window to observe it with new eyes. The eyes of the observer that will always modify the result.

With the intention of making Art, thinking of it as the attempt to express a sensitive vision of the world, which has the capacity to inspire, provoke and even be contagious, I conclude that PHYTOTROPISM makes expression (Wittgenstein, 1921), that search for a virtue, which produces a positive effect. It does so in me, notoriously, and implies a necessary attitude, a rescue, a valuation and vindication of the original, of the natural.