MATTER/MATERIAL

Works organized in series of long-term realization and located between different areas, subjects, means and forms, that investigate the intersection of the arts, technology and philosophy.

Areas: information, control, space

Topics: entropy, propaganda, speed, power, pornography, security, body, cities, virtualization

Media: word, painting, drawing, objects, photography, sound, video

Forms: figurative, abstract

where

After study and practice in the fields of the arts, humanities and technology, the approach followed integrates a wealth of techniques from different fields applied for expressive purposes.

why

Through the selected topics, it is intended to answer the question of "how is it that I am myself" without this introspective inquiry being translated into any act of exhibitionism.

how

If, with the use of words, the mask of artifice under an ambiguous prose is used, whose subsequent language is the logical verb-made outcome of a hurtful uprooting that assumes existence as a turbulent inner battle, with the manipulation of images, a transmutation over different media and forms using a visual imaginary for, from a magma of randomness and whirl, of contained viscerality and convulsive flesh, emerging that singular emplacement the uncomfortable intersection between an extreme questioning and an ambivalent reality.

results

The resulting works are grouped in series with a marked component of forensic dissection, possessing also a certain allegorical and, furthermore, hermetic character, since the ultimate meaning of what underlies the introspection done in the work in question is often hidden. In addition, they may be considered examples of palimpsest due to the coexistence in them of various superimposed layers of content and meaning.

reactions

The first reception should be essentially visceral because without appealing directly to the emotions any further consideration is more than worthless. In later readings, and as this emotional reaction -if it were to occur- would decrease, one could enter into a rational analysis. The fact that there is a premeditated architecture in any elaboration of a work does not presuppose its explication to the observer, since it would inevitably distort its reception. At best, a series of clues are offered to the receiver for linking and interpolating for the assimilation of the work regardless of whether it is in agreement with the original intentions.

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