My art practice is research-based and formalized mostly through drawing, video and writing. It began considering the notion of place and how we relate to the world around us. As I grew interested in what type of conventions we use to represent it and to what purpose, my research moved from the intimacy of the domestic sphere to the territory and the environment. My most recent body of work reflects upon the possibilities of representing that which has no stable form and is basic for life (air, water and time) and considers how the difficulties of visualizing the atmospheric conditions of a given site affects our understanding of the world order.
Air and water are fundamental for life and yet, being fluid and fluctuating, are very difficult to understand—and hence to render visible. Dynamic and unstable, lacking references to fixed grids or coordinates the masses of air and water emerge as fields of connections, transcending specific locations and occupying de-territorialized time-spaces that lack of stable representations. Similarly, time tends to be considered geometrically, as a material reading disconnected from the space it occupies or the nature of the element it is referring to, which obliterates its complexity and mutable nature.
There is then an implicit gap in atmospheric representations, which can never be made complete. Such gaps testify to how that which remains unrepresentable becomes unacknowledged, and how the unacknowledged becomes unthinkable. This un-thinkability seems related to human exceptionalism: We lack the means to understand and put images on the non-human entities that constitute the basis of our existence, as we lack the capacity to think of a planet that exists independently from us. Such absences seem to obscure our responsibility towards the world we inhabit, a shared entity that we are irretrievably affecting. My work is an attempt to explore the gaps and the possibilities of thinking the unthinkable.