Statement

Departing from drawing, sculpture, and more recently interactivity to public art and participatory interventions, my conceptually-driven work explores social engagement and materiality of the invisible (from radio waves and pollution, to rom the public sphere), in order to envision new forms of public space and human relations.

Ranging from public art projects that involve unconventional sites like Pittsburgh’s three rivers (USA) to one of Bogotá’s largest working class neighbourhoods called Venice (Colombia), I create contextually oriented projects that enable coexistent (and sometimes contentious) encounters between unlikely audiences. Using urban interventions, video, interactivity and networked installations, my work takes place at the border between the studio and public spaces, seeking to engage with the world and exist both inside and outside the gallery.

Building on my interest in public art and new media, I have developed projects that challenge notions of site-specificity by enabling translocal exchanges between people across social and geographical territories. Most recently, I have constructed an invisible wall connecting children across two continents for the Children’s Museum of Pittsburgh; collaborated with participants from 10 countries to turn the world upside-down for Future Tenant Gallery; smuggled one liter of Cuban air across the U.S. border; and assembled a team of day laborers to paint houses—on canvas—in the streets of Portland, Oregon. These installations and interventions seek to create new lived experiences of ‘publicness’ (or a new form of commons) in a post-global world. At the same time, they activate a form of social space where audiences, artists and artworks affect one another and participation becomes a form of co-production and empowerment.

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

My approach to these topics is located at the cross between artistic theory and practice, cultural management and audience studies, and, most of all, the interconnection between technology and contextual art practice.