The ephemeral as a way of experiencing art from the process of its creation (always delicate, slow and repetitive, almost as if looking for a way to create it), slow and repetitive, almost as if seeking a state of meditation), to finally connect with the different areas where we finally feel and are different areas where we finally feel and are VULNERABLE.
If I had to summarise or frame all my artistic projects to date in a single word, it would undoubtedly be ephemeral.
This concept leads me to a very concrete way of facing each area in which I work, as well as in the methodology or way of executing the work. As a photographer by training, I realised that each of the images that I built/photographed I constructed/photographed have a very strong ephemeral component.
They are recreations/sculptures/constructions created only for the moment of the photographic shot, and whose final photographic shot, and whose ultimate record/document of the whole artistic process was the photograph.
I relate the global concept of the Ephemeral to different areas of my daily life.
With our position on earth and our vital circles, installing paper birds in natural environments where their own matter comes from. natural environments where their own matter comes from... With the vulnerability of the territory we walk on, creating explosions of coloured smoke in open-pit mining areas... open-cast mining spaces...
Reinterpreting the Mementos Moris rescued from the history of art and of those authors who, like me, at some point in their lives, have like me, at some point in their creative process have had the need to feel the ephemerality of existence.
With the fragility of power, symbolising it with the figure of an imperial eagle that withers in real time. With the uncertainty of the unknown, connecting the minimum with the maximum and representing it with images of space. images of space.
Constructions full of details, which disappear when I take the photographic shot. Nowadays, I allow the two-dimensionality of the photo to be expressed in a more spatial way, and I take the installation out of the spatial, and I take the installation out of the photographic moment. In this way, the installation in a room begins to be present in my work, inviting the spectator to be able to walk through the sculptures from all its angles, and they can perceive each of the details. But always, and again, with the peculiarity that, as in photography, when the exhibition ends, the work disappears. the exhibition ends, the work disappears.