How do you describe your own art practice?
Let’s say that there is a pendulum between moments of study/research/image as well and phases of real experimentation. I’m not used to a particular technique, but from time to time I adopt one that I find more responsive to what I have in mind at that moment. Also the attitude towards the material is strongly experimental (snow is one of the materials I started working with in the last years).
Which question or theme is central in your work?
Perhaps the most important guiding motif of my work is the critique of vision: namely, to look at vision as something that on the one hand is very far from the original physical or material foundations, from the other is entirely in the hands (I would say: at the mercy) of culture. As a matter of fact, one of my favourite objects is the landscape, whose character of ‘cultural construction’ I have tried to show in various ways.
What was your first experience with art?
I don’t have a vivid memory. I have a feeling that art has always been in my mind. Then, as I grew up, its space changed. Evolved. Raised.
What is your greatest source of inspiration?
Looking at most of my work you could say it’s Nature. But I would say, not Nature itself, but the difference between naive fruition of nature and its intellectual-design fruition, which is inevitably that of every artist. So, rather than ‘inspiration’, I would speak of tension.
What do you need in order to create your work?
Curiosity, desire and the need to enjoy myself are the driving force behind my work. Then there are the “accessories” that make it easier: having space and time to experiment.
What work or artist has most recently surprised you?
The immensity of the work of Adrián Villar Rojas in the Oude Kerk in Amsterdam, left me breathless.
