The objects devoid of affection, and the short glances that neglect them make me get
interested in making a permanent appraisal of their physic and symbolic status.
I look for dissolved encounters between the poetic and the quotidian; divesting objects of their formal and linguistic function to give them a language that is born from the parallelism among word, matter, and object.
By doing so, I propose a semantic pun among objects, actions, and perceptions. Under an illusory panoramic, the word aspires to become a thing, the reality is present as a tactil vertigo, and the actions are deprived of sense. The process condenses the questioning of the use of each material; in it, I reiterate the substrate: brick as glass; ceramic as steel; salt as gold; light as paraffin; and sound as social bond.
Thus, pointing out the anthropological aspects that surround the objects’ attention, I propose visual speeches based on the manipulation, intervention, and composition of themselves. This transgression conserves each element’s identity and confirms, in this sense, that the existence of such things is only relevant when they are observed.
Things are in a maybe mood.