My art is both political and social. It's about nature, technique and politics. The themes of my research are the souls of our time, because I feel like a man of this time. The tools of my expression are organic to my projects, which are dictated by the themes. I don't need to use an exclusive or specific medium. I need to create a message that is powerful, clear and disruptive. But it's not about provocation or creating a scandal.
My art is dialogue. It's about my dialogue with the world. Listening and exchange. A true dialogue, an all-round dialogue can only start from the existential statement: This is me, here. This hurts me. I don't claim to have an absolute point of view, nor do I claim a "moral" type of art. But as I move through the folds of our time, I can notice things that strike me, that leave their mark on me. And perhaps on other people. If all this was simply emotion and outrage, it would be incomplete.
My approach is about designing: a combination of theoretical and practical. The theme dictates the medium, generating a taxonomy of values and structures. The central point of my art is a programmatic dialogue, between me and the theme, between my work and the public. That dialogue is part of the process: from gathering the input to constructing the object of art, I am always within a diaphragm of relationships. My process is indistinguishable from my work, so the moment of observation is the crucial moment when my research is questioned. Perhaps that moment is when the work is actually created.
I work on specific projects, with a theme, for a place. But the digital world is a fundamental part of my art, both through the reworking of iconographic material, and through entire projects for digital spaces. My artistic alphabet is based on the constant reworking of data, images and objects. In this, I believe I am a perfectly ecological and economic artist.
All my work is an attempt to reorganise and recontextualise the human being into a new world order.