ORANGE WHITE GREY BLACK BROWN
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DOTS TRIANGLE LEG
THE CURRENT MINIMAL SET IN AN INTERSECION OF THREE WORKS, EACH ONE WITH RELATED WORKS, CLOSE, YET NEVER THE SAME. THE PIECE IS THEN AN EVOLUTION FROM OTHER WORKS. ///// LATELY I WORK A LOT ON INSTALLATIONS THAT LATER ON GENERATE A NEW COMBINED SCENARIO. VERY SMALL AND LIGHT SERIES. MOSTLY EPHEMERAL, AND USUALLY PRIVATE, SMALL AUDIENCE. ALL VERY FRAGILE AND MINIMAL. AVOIDING TOO MUCH EFFERT IN THE MAKING AND ALMOST WEIGHTLESS. ///// AS MASTER ARCHITECT ADOLF LOOS WOULD PREACH A HUNDRED YEARS AGO: IF YOU CAND DO IT BETTER DOING LESS, LETS DO SO, AT LEAST FOR A WHILE. DO NOT WORK TOO MUCH, DO NOT OVER DO IT, DO NOT MAKE IT TOO NICE. DO NOT MOVE MATERIALS IF THE IDEA WILL NOT BE BETTER. MASTER MIES WAS ALSO RIGHT. THE ESSENCE SHALL STAY. ///// SINCE I HAVE ALREADY EXHIBITED MY WORKS IN SEVERAL FORMATS MANY TIMES, I HAVE NO INTEREST ON DOING EXACTLY THE SAME SHOWS I DID BEFORE, BUT INSTEAD, MAKING A CROSS-POLLINATION BETWEEN THE ACTIVE WORKS AND THE SERIES. ///// I CARRY NO WEIGHT WITH ME. IT IS ALWAYS BETTER TO THINK ON SITE WORKS AND MAKE NEW WORKS WITH FRESHER AND BETTER IDEAS. THATS THE MAIN PURPOSE OF ART. LIVING THE ART OF CONVERSATION AND SITUATION AS STATEMENT. ///// SO THE WORK BEFORE GOING TO SERBIA IS AN INTERSECION AND WILL NOT BE TRANSPORTED. PRIVACY IS A GOOD KEY WHILE MAKING THE PIECE. THE SHOW IS NOWADAYS MOSTLY A COLLECTED NARRATIVE OF ACTIVATED SITUATIONS. THE INSERSECTION WORKS ON VISIBLE AND INVISIBLE LAYERS :::::
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FRUITJOB - DURING THE LAST MONTHS I HAVE USED A LINE OF CITRICS IN DECAY IN THE SHOWROOM I HAVE IN MADRID. ORANGE, LEMON, LIME, MANDARINE ANF GRAPEFRUIT. THE ORANGES SHRINK SLOWLY AND DEVELOPE A MUCH MORE VIVID AND COMPLEX SKIN. MORE SEXY AND DEEP IN THE COLOR. THE FRUIT GROWS INTENSITY, POTENTIAL. ITS NO ORDARY FRUIT ANY MORE. I LOVE DECAY AS THE BASIC MATERIAL GROWS A NEW DEFINITION, THE OPPOSITE OF FEAR. THGE JOY OF TIME, OF SURVIVAL, AWAY FROM ROTTENING. I WORK A LOT WITH FOOD AND I HAVE EXHIBITED APPLES FROM MY TREES DURING MONTHS IN THE GALLERY. UNTIL THE FINAL STATE. COMPLETELY DRY. I USE THE DECAY OF HUGE LEAVES WHEN I WORK IN MEXICO AND I MAKE FULL SHOW WITH LEMONS IN CROATIA, AS ECHO OF MY SUMMER RITUALS. I LOVE MONOCHROMES, AND I USE THEM IN MOST SERIES, IN SMALL AND IN LARGE PIECES. AS MINIMLA SETS AND EVEN AS ARCHITECTURE. URBAN UNSTABLE SETS AND RELATIONAL PROCESS WORKS ARE PART OF THE GAME. SO THAT IS ONE LAYER. THE DOTS.
INVERTED TATOO IS PART OF THE SERIES OF WORKS WHERE I USE THE ABSENCE OF A GEOMETRICAL FORM TO BUILD THE PIECE ITSELF. LAST YEAR IN NORWAY I USED A CIRCLE AND THE SUBSTARACTION OF LEAVES IN THE GARDEN, USING THE SIZE OF MY ARM LENGTH. HERE, THE TRIANGLE IS WHAT IS UNTOUCHED. HAS NOT BEEN PAINTED. SO WHITE FLORR STAYS AS CANVAS FOR THE PICTURE. NOT ALWAYS THE WALL IS THE FRAME, MANY TIMES, BUT NOT NECESSARY. FRAME IS WHAT WE CALL IT TO BE. TRIANGLES ARE VERY PRESENT IN THE LASTWORKS. MANY ON WALL PIECES, WITH CARPETS AND THE ONGOING COIN SETS AS WEEKLY RITUAL WITH THE MINIMUM VALUE COINES, CALLED NO CREDIT.SO THATS THE TRANGLE AND THE FRAME.
NO LEFTOVERS - BLACK AND BROWN - USING THE SHOES AND THE LEGS AS PART OF THE SET. STEPPING IN THE INSTALLATION AS PART OF THE PIECE. THE IDENTITY SCULPTURES ARE INVISIBLE AND THE REPETITION OF COLORS IN PERFORMANCES WITH THE SAME CLOTHES ARE PART OF THE LAST YEARS RITUALS. IN CADIZ WAS BROWN, IN PROVENCE AND IN LONDON WAS PURPLE, SPECIALLY LIKNKED TO THE PRIVATE WALK MARATHON, IT IS BLACK IN GALICIA, AND BLUE IN THE HARDANGEN FJORD, IN THE ART OF OTHERS. SO THAT THE LEG AND THE SHOE. COLORS AND IDENTITY THAT CARRIES ME AND YOU TO OTHER WORKS AND PLACES.
THE CONCEPTUAL RELATIONAL ART IS FRAMED BY LAPIEZA SINCE 2009, THIS YEAR, REACHING 75 EXHIBITIONS. IN EVERY SHOW I SHOW A WORK AMONG OTHER 20 ARTISTS THAT I SELECT. SOCIOPLASTICS IS A BRAND, A FORM OF MAKING ART, SHOWING ART AS PART OF AN ONGOING, COMPLEX AND ALIVE INSTALLATION. THE NARRATIVE REMAINS OPEN.
