Interlude 001, 2017
Watch video here
Water from the Mediterranean Sea in Stamford, 2014 (USA)
-Me: “More than a piece or an object Water from the Mediterranean Sea in Stamford is a live process. A small water sample from the Mediterranean Sea will be sent to Connecticut, where it will transform from Barcelona seawater into Stamford vapor, and inevitably, into humidity. Once inhaled by the exhibition visitors, it will circulate throughout the exhibition space, contributing to the generation of condensation and enabling the formation of clouds in the upper layers of the atmosphere.”
This project was part of “It Narratives: The Movement of Objects as Information” exhibited at Franklin Street Works. Curated by Brian Droitcour and Zanna Gilbert.
E-0001.18
INK, PAPER AND PLYWOOD 70X97 CM
UNTITLED ROOM, 2018
E.001.17 NADA, 2017
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper. 145 x 95 cm. Film photography.
E.001.17 NADA, 2017
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper. 145 x 95 cm. Film photography.
E.001.17 NADA, 2017
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper. 145 x 95 cm. Film photography.
(M-A), 2017
Antarctic Biennale
On the coast of Antarctica (facing the ocean) the sound of the Mediterranean Sea waves will be heard via live streaming technology
This sound installation seeks to evoke the idea of relocation, intrinsic in the water, fomented by the hydrological cycle which and through the processes involved, water is distributed over the earth’s surface displacing the liquid to diverse geographic points different from the initial and thus continuously. Water does not belong to any one territory.
Watch video here
E-0010.17 (bis)
ACRYLIC, CONCRETE, OIL, GLUE ON POLYETHYLENE 115X150 CM
Video Stereopticon Slides (digital version), 2016
E-004.17 [sound of a strong movement of water in one direction], 2017
This artwork explores the gap between what is perceived and what is interpreted.
Through written descriptive sentences, and without any audible or vibrational stimulation, this project invites you to imagine the sound of water in different contexts.
Digital print on PVC 350×245 cm.
I CAN FEEL THE HO2 OF YOUR SKIN, 2016
Watch video here
E-0027.16, 2016
ACRYLIC ON PAPER 100 G/M2 23X30 CM
SICCUS, 2016
This is a short video that magnifies a photograph of mud cracks (sedimentary structures formed as muddy sediment dries and contracts due to a reduction in water content). Through abstraction and corruption of the image, the terrain surface acquires another scale. SICCUS visualizes the notion that spaces can merge.
The questions that arise from the dialogue are: What is the role of perception in our lives? Do we see things as they really are?
Untitled (Car Sun Shade), 2014
“Comfort Zone” at La Escocesa. Exhibition curated by Michael Swaney.
UNTITLED (BLACK WATER II) REFLECTION, 2015
Reflection of light depends on the nature of the interface and the origin of the incident ray.
Light may be absorbed by the material, light may be transmitted through to the other side, or light may be reflected back.
E-0028.15, 2015
ACRYLIC ON PAPER 100 G/M2 23X30 CM
E-0028.15, 2015
ACRYLIC ON PAPER 100 G/M2 23X30 CM
E-0028.15, 2015
ACRYLIC ON PAPER 100 G/M2 23X30 CM
When the water meets the stone brick, 2014 (Los Angeles)
Untitled Water, 2014
(Bio), 2014. 500letters.org generated a biography for me.
I did some changes though.
SAND TECH (IOS), 2013 (Costa Rica)
During 2013, I spent some time chasing after runners on the beach in order to take pictures of their footprints; the various impressions left in the sand where the technology of running shoes had been revealed.
Granted, these sand impressions do not have credits and if you don’t happen to be right there and then when they are created, they may go unnoticed. The intention and the energy that has been used in their creation is unknown.
SAND TECH (IOS), 2013 (Costa Rica)
SAND TECH (IOS), 2013 (Costa Rica)