Statement

Since 2005, I have developed a contextually based artistic practice that utilizes social engagement, interactivity, sculpture, video and image making in order to envision new forms of public spaces and human relations.

Through my art practice and research I explore the materiality of meta-spaces formed by contemporary natural and cultural phenomena: from air’s pollutants to vast traffic networks and migration; from the uprooting of cultural identities and trans-nationality to experimental geographies that undermine the contradictory movement of capital, ideologies, bodies and resources throughout the planet.

By understanding public space as fundamentally fluid—as a dimension that also contains the near and far, the invisible and the Other—I am invested in rethinking the function, form and agency of public art and site-specific practices. Ranging from participatory and public art projects that involve unconventional sites like the Filipino Sea (The People’s Island, Negros Museum and the U.S. State Department), or some of Philadelphia’s street corners (We Paint Houses, Practice Gallery), to one of Bogotá’s largest working class neighborhoods called Venice (Bogotá Venice Biennale, Colombia), I create participatory works that enable coexistent (if sometimes contentious) encounters between unlikely audiences and across vast distances.  These interventions enable lived experiences of ‘publicness’ (or a new form of commons) in a post-global world. At the same time, they activate a kind of social space where participation becomes a form of co-production of meaning, community, temporality or sometimes dissent.

Ranging from public art and interactivity to participation and socially engaged art, my core research areas include: (1) geo-poetics as an alternative experience of global territory, belonging and strangeness; (2) dealing with air, water and energy as a material embodiment of the public sphere; and (3) the use of artistic practice as an impetus for social action.