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 installation represents a cartographic replica of a destroyed city fragment caused by extreme war conflicts during 2015. This city suffered from a 300,000 inhabitants’ diaspora and for about four months was the target of constant sky and ground attack. Being hit by hundreds of explosions the city ended up uninhabitable. I chose Kobani for this art
piece to portray a lifeless city despite the fact that many others have perished and many more will also live that same fate of war among human groups which ironically claim for peace. This piece of art is composed of 500 ten-centimeter (3.93 in), concrete cubes each of them deployed on the floor to portray the urban lines of such young, urban
ruins. This creation is enhanced by a pictorial reproduction of Kobani’s current satellite image and plus two footage images showing the same zenith angle before and after its decay. The aim of this art piece is to physically incorporate the spectator in order to dialectically compare, in front of him, the chaotic outcome of human destruction versus the appealing possibility to observe it from the distance.