"Signs of Materiality" contemplates the definitive nature of "the object" as a presence in and of itself while questioning the spectators' tendency to read all art as representational, symbolic or referential. I want to produce objects that are brutally direct and specific. This work questions notions of "meaning" and "story-telling" by making it evident that it is the viewer who constructs and attaches meaning and narrative to the work in their own arbitrary manner. Materiality is the result of my on-going exploration of the origin of language and the nature of human communications in the context of the built environment. These compositions are both "familiar" as well as shamelessly abstract and disconnected. The work is inspired by automatic poetry, industrialism, brutalist architecture and my own commercial design practice.
With ironic titles like “Kiss” and “Present”, I want to show that these “packages” wrapped in shiny plastic are anything but gifts. The idea of Warhol’s, iconic Campbells soup can or familiar consumer goods brands returning to their humble yet destructive origin as trash shows how these membranes contain a record of our experience as consumers of products, as well as of culture.
A chair as the smallest humanly inhabitable space. Places, time and space entangled to ulterior specificity. with their own stories and symbolism insisting in pulling us in.
I wanted to get to know these forms; to see if I could take these simple and primitive markings and infuse them with meaning and emotion. The idea of taking such basic gestures and transforming them into “stories” through a process that is both rudimentary and sophisticated is what drives this work.
Much like in my other life as a graphic designer, I have created a series of raw, “viable options” and taken each one through a production process involving scale, form, volume and texture. It was during the physical production of these pieces, that I began to discover the stories and ideas that each mark could potentially (perhaps arbitrarily) convey, thus I got a bit closer to understanding that this may be how conventional communication works.
Found object intervention. Poured latex over painted ceramic figures. Innocent, kitsch, vane, grotesque, scenes of our own demise, that highlight our unsustainable, oil based economy and its effect on us and our natural environment.
Collaboration with design retailer Edit and furniture manufacturer FLUX. Several artists were selected to produce unique interventions of this iconic, origami-inspired chair. Graffiti style spray paint, pigments and iconography were applied to the “inside” of the chair in a controlled manner to ensure precise alignment of the graphics when the chair is assembled.
The piece title “Ritual For Titans / Slow Time Machine” was also carefully painted directly on the material to ensure that it was only fully visible on the seat of the chair.
Same revolution again. Inspired by anti-government street demonstrations in Mexico City and Caracas, Venezuela.
Dyptic. Acrylic and Graphite on panels