Space and time; history and geography. How to make sense of the past, and how to make sense of the world. My work is a jumble that tries to resolve a mess of our ages: what is globality? What is uniqueness? For most of us, life has been filled with the injunctions of being ourselves, accompanied with a strong pressure to perform. “Being oneself” equates to a form of latest capitalist interface, body and mind. In a world where interconnection dives ever deeper in detail and intimacy, singularities are simultaneously revealed and threatened.
Memory systems do tend to retain the latest story in hand as something perceptually finished. A story written by the most hegemonic power. However, all the complexity of the past doesn’t go in a single direction, nor land in a stable and well-defined state of affairs. The reality is that everyone is confused, and that this confusion is unavoidable. It is this state of permanent, shape-shifting confusion, coupled with the pressure of appearing in control and the (highly selective) aversion for data or experience loss, that is interesting to me.
As an artist and a printmaker, I tend to use methods that require a certain indirectness, with the original gesture being cancelled, repeated, registered or controlled by the process itself. As a consequence, my work often presents a form of secrecy, encryption, or corruption: the original content isn’t available with immediacy and requires a certain effort from the viewer to go past the confusion to decipher and interpreted what is in front of them. At times, the original meaning might well have been lost, and all that is left are ghosts, absences.
Perhaps there is something of a forger in every artist: I forge the clues; you do the forensics. However, I like people to keep in mind they have the right to interpret in the way they find pertinent regarding to their own experience. I research and document my forgeries the best I can… that might well be my method of investigating the world and retrieving my findings.