The new sincerity

2016

Project made during the Artist in Residence Program in El Ranchito, Matadero, Madrid (SP)

Images from the show We don´t know how to get back alone, Matadero-Madrid (SP)

In a technique-idolising world, it cannot be denied that this is gaining more and more power over human beings. Man is not at the same level of perfection as its products and his iPhone reminds him of this, that despite its anti-scratch surface, it will never be able to avoid getting covered in greasy fingerprints.

There are reasons to feel frustrated. Planned reality is a long way from what really emerges.

A series of independent works is used to present small appreciations, mundane details of those intersections between a utopia and an accident or improvised event. And they are used as a sculptural excuse where poetry does not lead to evident facts.

Wassilly Chair

2016

Clips and tape

4 x 4 x 4 cm

The Wassily Chair was made at the Bauhaus with the intention of democratising design. To do it, Breuer used cheap, accessible materials and using the techniques of local craftsmen.

 

Despite his idealist and generous idea, nowadays this chair – an icon of modern design – is far from being affordable for the average person. It's sold through a designer furniture firm at a much higher price than it costs to produce. 

Using clips and adhesive tape I reproduced one with my own hands, once again placing the product within my reach and also exponentially boosting its value through the art system.​ 

Supersuperficie

2016

120 tiles (50 x 50 cm each)

Concrete, fiber glass and plastic sediments from the beach 

In 1972 Superstudio ran a project called Supersurface, as a „critical reappraisal of the possibility of life without objects“.

 

Supersurface presents “an alternative model for life on earth” in which they used grids superimposed over natural   landscapes to criticise the doctrines that had dominated the way design was thought about in the 20th century. They were structures that spread across the surface of the planet, in contrast to the spontaneity of nature.

With these cement slabs I've tried to formalise that intersection between the grid as a utopian structure and the irregularities of real ground, like you find on a beach, with some plastic sediments washed up by the sea.

 

These sediments - leftovers of different objects - even though they're waste, have a great expressive potential.
 

It's a very interesting combination of human toll and the disruption of nature. And it's an undervalued material that Men would not want to include in that grid.

 

Supersuperficie is a prototype of floor that can be walked on.

Fashion Victim

2016
Distressed denim fabric
227 x 155 cm

Fashion Victim is a sculptural painting in which I use original blue denim fabric and distress it using my own tools and strength (which is actually very limited, as denim is extremely tough).

 

The history of jeans and the torn and distressed look we're all so used to seeing now dates back to a subversive past that has been absorbed by the fashion industry, and in fact it endangers the lives of the people doing the distressing.  

Hippie-Barroque

2016 

Bleached fabric collage

227 x 155 cm