Various concepts that interest me build my pieces. Language, how we understand it, how we read it,
and how it affects our judgement is a constant presence in them together with typography; some viewers will just relate to the forms,
the beauty of the setting, but for those who chose to read, there’s more to discover about language and how we relate to others.
How language accommodates to pertain to an specific group (or vice versa) proves that outside language academy considerations, language is a moving, evolving entity that like a chameleon, needs to be looked for to understand its habits and customs.
Baudrillard claims that art has lost its critical and negative function; this idea appeals to me along the lines of using words that people think as dangerous, rude, not to be used, when at the same time they are just geometrical constructions, but yet charged with history, a sense or other meanings that are usually ignored and overlooked.
I was schooled on a French school, born to a re-located family from the North of Mexico to Mexico City, and it has been always hard to understand the ‘belonging’ issue as I learnt simultaneously different words for the same concepts, and witnessed different reactions to different words.
I adopted English as a way to understand the concepts, feelings, issues that seemed to me unapproachable through Spanish or French.
This apparent xenoglossia is looking much more into a non-religious glossolalia, as I tend to combine, where possible, all the languages I use to explain the world to myself. The problems arise, and this in direct connection with my practice, when words that make perfect sense to me when together, are nothing to someone else. Not even for the people that is able to speak or read the same languages that I do.
Borrowing the interest from the ‘quotidien’ from Raymond Carver, with his inarticulate and weary characters who live against the tide, that struggle to exist in the present that transpires as a constant lost battle is where one of the points of my research lie. The flattening every day life, whatever is common to many and could bring points of identification with the viewer. Concepts that are not “proper to the artist” but to someone that can read similarities with their lives: travelling by bus, going to the bank, entering a new café, sitting on a a bench, avoiding the neighbours this particular uninteresting chapters of our lives often transpire much more of our personalities that those defined by “greatness”.
Maybe it is not the way into being ‘contestataire’ (a protester) as Baudrillard would envisage the work of an artist, but in a certain way, it is, is launching a verbal attack to all of that that is not explained to us (or to me), to that that should be apparent yet it needs to be written or spoken.
Boredom, betrayal, solitude, abandonment, manias, addictions flow easily from Carver’s pen, yet they are composed in clusters of deception, of happiness, common words we can relate easily to, yet, their complexity rely on the ongoing stories; it never seems to be an end to Carver’s short stories, but life after all is just a chain of those clusters to which we try to relate, understand or provoke the others or on the other hand, be completely misunderstood when the scenarios are nothing like we know.
In Richard Prince’s words on Abu Ghraib prisoner’s pictures: “These pictures are like viruses, infecting perception…They are like snapshots from a perverse family vacation—a special apocalyptic type of communication. And they are dangerous because one can sexualize them in a collective way. You have to be extremely careful these days about what you look at”.
Please touch // Plastic lettering_2009
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