1. LION, ROAR, HILL, BACKLIGHTING... NOTHING
During my walks in the countryside, I looked for the remains of trees. Eaten by the insects and transformed by the weather and the passage of time, the pieces found were biological remains that had great similarity with dead animals. My work was to build a biography from those remains of nature. Rescued from their natural context, I appropriated them in a period where I re-contextualized their meaning.
¨Lion, roar, hill, backlighting…. NOTHING“
That evening I was driving.
Against the horizon I saw the old mouth of a ferocious lion
In full roar.
It was a monstrous reality that seemed to come out of the western side of the mountain.
Like a backlit line drawn with great precision.
I wanted to reach it, but as it lost its distance,
Also lost his aura and his courage.
Step by step I verified that approaching came to a reality
without its initial meaning
Finally I simply found two stones.
It was nothingness.
Madrid, February 2011.
2. SOLAR COMBUSTION
I started to burn the pieces with sunlight through a magnifying glass. I was looking for an external form of intervention where the medium, the light, was more powerful than the meaning, my will. I was trying to extract some of the necrological photosynthesis between the two materials, the dead wood and the augmented light, sealing a union in which the object and my own intervention were floating in some other unknown place. I was creating a wound on the palm tree wood that I had assembled in the form of different structures:
1 – Four doors, as constructive structures and geological formations, in which I traced written references to Roman citizens of antiquity extracted from the ruins of Volubilis in Morocco.
2 – Spliced branches that together built huge columns, on which the light action drew thick lines that sealed the joints.
3 – Pillars in which I engraved drawings from top to bottom floated as infinite motifs without beginning or end.
3. IMPRESIÓN DE FAMILIA
The coins used in this project are intervened to eliminate the mercantile elements and leave only the cultural ones. Basically faces of the history of culture from countries that coin them. Each country chooses personalities capable of creating bonds of strong national identification.
Culture is used in this way at the service of purely political ends, as elements of propaganda and identity manipulation, at the same time that it is economically exploited as commercial elements.
The project started in 2012, and its works have been exhibited in 2013 in Kaskadenkondensator, Warteck pp (Basel, Switzerland) and in the Fondation Slaoui (Casablanca, Morocco) and in 2015 in the Páramo Gallery (Guadalajara, Mexico) as part of the exhibition “Jacob and the Angel”.