How do we deal with knowledge? (Qué)
What are the information selection processes and the ways of arriving at fiction? (How)
Do the works have great objectives? (For what)
These are questions that you cannot ask yourself without thinking fractionally, without giving a weak answer, without realizing that you don't really care about them.
Por otro lado, mix images, associate them, resemanticize them; it is so easy that the limits of the artistic are lost and somehow the arsenal of individual and collective visuality are invoked consciously and unconsciously. De hecho, a large part of artistic production cannot resist operating in this way, especially the pictorial, which in this case is the center of interest.
We live in a situation in which every day we are more incapable of creating representations of our own current experience. OPERATE, MECHANE, PHOTOSHOPEAR, are terms that are closer to what I am actually doing. More than the image as such, I am interested in what happens before reaching it, when you edit, reuse, violent, when they share the same living space.
Painting is a rich and flexible process that in the first instance speaks of the actions of men and their decisions, for me the pictorial surface has a life of its own, let's say, you select a character, make it your actor, then you select a given circumstance and it you let them react.
- How can you put order in the chaos of infinite and shapeless variations, which is, "the pig"?
- Psychic base common to all animality, shit, beasts, days.
- It's a fertile microbe, virgin.
- He's against expensive life.
- Limited company for the expropriation of weak ideas.
- Has 391 skills and different intentions according to the sex of the audience.
- It is chameleonic: of rapid and interested transformation, it is against the future. Has died. He's idiot.
- It transforms, affirms and says the opposite at the same moment - without importance - screams, twists and runs.
- It's not a sentence, yell.