Artist Statement (as of January 2017): First Attempt to reconstruct the

world

The world is unfathomable.

Millions of times harder to unravel than any game that my short life could ever come to understand.
But there is always somewhere to start, sometimes several.

At first glance, my practice may seem somewhat eclectic, and in fact I think it is.

My career is strongly linked to the processes driven by my curiosity, and began with my studies on

linguistics and logic at university, where later I studied also disabilities sciences, and started a Master's

degree in applied neuropsychology until I got married, when I left studies to become a househusband while

my wife worked.

After a short period in which I studied for an simultaneous interpreter while keeping things at home, I

started working in the financial industry as a hedge fund trader for three years, leaving this job on August
2008, by fortune, one month before the financial crash.

From there I began to study and practice photography, and in 2012 after my first artist in residence for one

year, I began to explore other forms of expression, based on processes of exploration of ideas and search for

their physical representation.

My first works used large format film photography to investigate geographic and historical places
(Medium series, 2010-; The New Clear Age series, 2011-), and gradually my practice began to expand

with the eclecticism that my actively distractible curiosity allowed me.

Since 2012 I began to build text-based installations inspired from L. Wittgenstein’s writings with optical
experiences based on light, and photography (Speak the Unspeakable, 2012); followed by

exploration of events, videos and research in the restricted area of Fukushima (If the radiance of a

thousand suns were to burst at one in the skies, 2014-), or interventions in the
architecture of exhibition sites with the collaboration of economists or financial traders (The mountains

of Prometheus series, 2014-). Lately I have added to my practice, texts and an anagram of a whole

short story by J.L. Borges, written and interpreted in several languages at the same time in the form of a
video work (The God of the Labyrinth, 2016), recreation of rose perfumes based on mythology and

history (Four studies on odor, 2016), combination of pieces from my family and found objects to

orchestrate a narrative of personal history along with historical research as a critical response on how
‘History’ is built (Two million years of solitude, 2015), or attempts to explore the medium of
painting as metaphors of social collaboration and struggle among coworking individuals (The Wreck of

the Sea Venture, 2016), among others projects.

When exhibiting works I always try to find a meeting point between this infinity of points of view, and these

diverse practices through a process of rigorous research, concept making, and the creating of physical
works.

I aim that in the whole, this elaborate network of connections, will transport the visitor through the

experience of the works, space and narrative, to a sort of limbo between the real and the fictional, the past

and the future, denial and affirmation, a realm where the answer fades before the question, finally reaching

a misty sense of loss as a starting point for a new journey; perhaps a search for a new utopia.

I am strongly interested in interdisciplinary realms of human research and practice, and I believe that there

is a strong need of a macroscopic view of the world as well as a high specialization in a certain area of

specialization. And so, little by little, through the development of these methodologies and collaboration
with specialists from other areas, I have realized that my practice it is nothing but an attempt to the colossal

task of reconvening the scattered and obscure pieces of uncertainty, and put them all together in a single,

coherent world, a world to be reconstructed.