Destruction is perceived mainly by our sight and I have been fascinated by the way it appears in front of us as degradation, fragility and deterioration of the materials and objects that humans stubbornly use and create. The attractive aesthetics of destruction is always present in our urban societies in a physical as well as in a virtual way. Its visual complexity, strength and appearance have captivated me to the point of making it the center of my artwork. Having as guide the visual illusion, I have been focusing my work in the appropriation of the image of damaged human creations, taking them to the artistic context and making evident the astonishing beauty that is found in the aesthetics of destruction. I think that these altered forms are also a clear metaphor of the contemporary human being that destroys itself, without even realizing it, menwhile is immersed in the maelstrom of the everyday urban life. However, the destruction is inherent to creation, to existence itself, everything is being constantly destroyed. There is no movement without damage nor life without movement. My work is thus a creation that comes from destruction.Want to contact? email me firstname.lastname@example.org
This work of art comprehends a collection of images and text to reflect upon sociopolitical conflict in Mexico. The images are pictorial representations of artifacts such as cars and buildings which were violently destroyed during the mentioned conflict. Written on index cards, the text shows phrases from the speeches of some political leaders responsible of the aforementioned damage and who ironically emphasize positive ideals of growth, progress, goodness, equality, justice, peace, safety, and prosperity. The different visual and textual elements are joined through strands of red thread put together in the same fashion as in the evidence cartography used to resolve criminal investigation. This art work does not clearly reveal its geographical origins nor does it refer to specific personages despite the fact that the events are Mexican. The intention of such strategy is to prevent specific association with
Mexico and let similar conflict in other countries be evident so that it can be extrapolated to leading-to-human-self-annihilation, global, political processes. Besides the pieces, the presence of map fragments as a symbolic resource rather than as an index has been considered from a museography perspective. The red thread is expected to fill up the space to help the spectator be involved not only visually and/or rationally but also physically into the discursive axle.