How do you describe your own art practice?
My practice is defined by phases of contemplation and intuition. The drive behind my work has a lot to do with context, either by a personal or political framework. As a visual artist, I consider myself a picture maker willing to experiment with various techniques to establish a conversation first with myself and then with the viewer.
Which question or theme is central in your work?
As an ambiguous theme, I’m interested in everything related to human perception. I like to play with the formal attributes that make a picture. Moreover, I’m concerned with how we consume images, from the cornerstones of the Internet to a painting in a museum. I use fiction as a tool to stimulate my projects. This approach gives me the freedom to work with an open mind that quickly transforms into an eclectic phase of creative chaos.
What was your first experience with art?
Luckily before the digital era of kids with Ipads, like many people from my generation, I started drawing out of boredom. My mum gave me a set of crayons, and I began drawing from my imagination. I remember seeing some of those drawings a couple of years ago, and I think I had an obsession with monsters and animals with multiple extremities.
What is your greatest source of inspiration?
Doing many things at the same time. I get bored easily, so having a practice that embraces diversity and constantly trying new approaches feeds into my overall momentum. I like to make music in my free time, which is another way to transpose experimentation into inspiration. Besides this, I’m a nerd when it comes to the know-how of things and equipment. I like informing myself about how to achieve particular output, which is one way that I usually begin shaping the early stages of my work.
What do you need in order to create your work?
I work primarily through analogue processes, so having access to facilities such as a photographic darkroom or specific equipment is at the core of my practice. On the other hand, I prefer not to limit myself when it comes to relying on resources. Some of the most reminiscent work I’ve made over the years has been achieved with the most entry-level equipment, so even if I’m keen on gear, it is not an excuse to make.
What work or artist has most recently surprised you?
The work by the Austrian artist Herwig Scherabon. Especially his latest multimedia project, Against Nature.
